First, allow me to say that I hate how IMDB removed so many great threads especially on this board. I remember having so
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DoctorShemp — 14 years ago(July 29, 2011 07:33 PM)
Here's a good one:
I'm
pretty
sure that Saleri's servant in the beginning (the tall guy who brings him the doughnuts) is the same servant boy that Salieri has around in the flashback scenes. Just a little something I never thought about -
frog-34 — 14 years ago(October 11, 2011 03:14 PM)
After watching this movie for many, many years, it only occurred to me just a moment ago that there is no tangible reason for Salieri to believe in his old age that he murdered Mozart. What we see toward the end of the film is that Stanzi, Salieri, and Mozart's son are all present when Mozart dies in 1791. Thus, one of the overarching themes of the film is that people eventually reach a pont in life where they are prone to believe whatever they want to believe, and nothing will dissuade them.
JEB BUSH IN '012 !!!!!!!!!!!!!!!! -
frog-34 — 14 years ago(October 11, 2011 03:38 PM)
Here's something else. Try to keep an eye open for the little ways Salieri tries to distance himself from his schemes to derail Mozart's career. A previous poster mentioned that Salieri's servant is the one who actually buys the black costume from the costume shop. Also keep your eye on Salieri when the emperor attends the "Figaro" rehearsal and wants to "see the scene with the music back." Before calling for the palace set, Mozart bows in the direction of both Salieri and the emperor who are sitting just a few seats apart. The emperor could easily, and correctly, believe that Mozart is acknowleding him. At the same time, Salieri is waving his hand to Mozart in a "low sign" gesture, as if to say "No, nono need to be formal. Just get on with it." This could maintain in Mozart's mind the fiction that Salieri is working on his behalf and that it was Salieri who convinced the emperor that the music should be restored. It's quick, and it's subtlebut it's there.
JEB BUSH IN '012 !!!!!!!!!!!!!!!! -
Low_Rent — 14 years ago(January 10, 2012 06:30 AM)
I might be wrong on this but one thing I remember from the last time I watched the movie was that whenever we saw an opera by Salieri the set design on stage was in dark colors but Mozart's were of bright colors (with the exception of Don Giovanni). Did anyone else notice this? The difference in colors meant to give the film audience the idea that Mozart's work was better then Salieri's.
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yolhanson — 14 years ago(January 16, 2012 06:58 AM)
Salieri: That was Mozart. Wolfgang Amadeus Mozart.
Priest: The man you accuse yourself of killing.
Salieri: You've heard that?
The glint in Salieri's eye reveals his desire, still, to be talked about and be the subject of gossip. This speaks to his character throughout to film. It's also a great little piece of acting.
2. When the priest first walks into the room and positions the chair, Salieri is improvising a melody with a simple chordal accompaniment. The melody and chords are not "resolved" (for non-musical types, that means they don't come to the natural finish you would probably expect)this establishes Salieri as a character who feels incomplete, both musically and personally. -
DoctorShemp — 11 years ago(September 28, 2014 06:40 AM)
- When the priest first walks into the room and positions the chair, Salieri is improvising a melody with a simple chordal accompaniment. The melody and chords are not "resolved" (for non-musical types, that means they don't come to the natural finish you would probably expect)this establishes Salieri as a character who feels incomplete, both musically and personally.
That's a great one. I think I always noticed that subconsciously but never actually thought about it. I guess that's kind of the point of the effect though
- When the priest first walks into the room and positions the chair, Salieri is improvising a melody with a simple chordal accompaniment. The melody and chords are not "resolved" (for non-musical types, that means they don't come to the natural finish you would probably expect)this establishes Salieri as a character who feels incomplete, both musically and personally.
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room102 — 13 years ago(October 11, 2012 04:00 PM)
Good stuff, man!
Visit
The Plasma Pool
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http://PlasmaPool.50webs.com/ -
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tinkerchel — 13 years ago(February 15, 2013 08:35 AM)
I think the IMDB staffs delete threads that haven't been active for a while to save space on their website.
It's sad I know. There used to be so many in-depth discussions about this movie as well as others. All gone..
The best way to try and save the good threads is to keep them somewhat active I guess.. -
frog-34 — 12 years ago(September 18, 2013 09:04 AM)
There's another one I thought of quite a while ago but never took the time to write down.
When Mozart tells Salieri that he threw the "Figaro" score into the fire and that Constanze pulled it out in time, take note of how Salieri says "Thank God." It's very, very dry but dripping with irony at the same time. -
Jleiwei — 12 years ago(February 05, 2014 01:51 AM)
In that precise moment Salieri, a religious man, is thinking about HIS OWN damnation, deserved for what he is doing to Mozart.
Well I think quite the contrary. Salieri is hardly a "religious" man up to this point. He's been defying God ever since Mozart came along.
When Mozart asks the quetion, as being very sick, he is obviously thinking about th possibility of being burned forever for all those responsibilities he has neglected in life, especially those to his father. When Salieri answers "yes" he is yelling queitly in his heart "Of course! Don't you see that this is exactly what I have been suffering - being burned by the fire of jealous that never dies? I am living in hell before I even die!" -
Sugarminx — 11 years ago(March 19, 2015 02:56 PM)
When Salieri answers "yes" he is yelling queitly in his heart "Of course! Don't you see that this is exactly what I have been suffering - being burned by the fire of jealous that never dies? I am living in hell before I even die!"
Absolutely. This is exactly the way I've always interpreted Salieri's response. He's been consumed with jealousy and hatred ever since he met Mozart.
I don't think Salieri, at that time, was remotely thinking about going to hell for what he was doing to Mozart, he was too tortured by his own inadequacies and blinded by ambition.
The idea of having to 'pay for his sins' came later, when he was an old man.
What interests me is that Salieri was familiar with Mozart's music, long before he encountered him. Prior to meeting Mozart, he seemed fine - not at all tormented by the other's genius. It was only once he met Mozart that the "madness" began. It was the idea that God could give this genius to a "dirty minded creature" that so repelled Salieri - NOT that someone else was inherently more talented, but that that talent should belong to someone he found so offensive.
So put some spice in my sauce, honey in my tea, an ace up my sleeve and a slinkyplanb -
Jleiwei — 10 years ago(April 14, 2015 02:24 AM)
What interests me is that Salieri was familiar with Mozart's music, long before he encountered him. Prior to meeting Mozart, he seemed fine - not at all tormented by the other's genius. It was only once he met Mozart that the "madness" began. It was the idea that God could give this genius to a "dirty minded creature" that so repelled Salieri - NOT that someone else was inherently more talented, but that that talent should belong to someone he found so offensive.
Now this leads to the very meaning of this film: What is the purpose of talents? Salieri believes that talents are created by God to sing God's high glory on the earth, while the talent of Mozart clearly defies this notion. It is like God shouting at the face of Salieri: Why do I want you to celebrate me, you moron? Celebrat love, and youth, and life. That's the best thing you can do with your telent. That's the reason I endow this extreme talent into this exteremly little man, because he konw how to make the best use of it.