Mozart continues to party even though his finances are in disarray. Both Salieri and Schlumberg get great satisfaction from Mozart's fall because they both faced great humiliation at his hand. In fact, Mozart's desperation is more apparent the second time: he begs relentlessly until Schlumberg shows him the door. He also appeals to Michael Schlumberg, a man whose daughter Mozart once refused to teach due to the presence of dogs in the man's household this request fares no better. He appeals to Salieri for a loan, but Salieri rejects his request. Loans (Motif)Īs Mozart's financial situation worsens, he becomes more and more desperate. In the costume, Salieri approaches Mozart and uses the costume to increase the guilt and grief that Mozart feels towards Leopold after Leopold passes away. Salieri purchases a costume identical to one that Mozart's father, Leopold, wore to a party. Furthermore, Salieri uses a costume to torment Mozart. They give Mozart's operas and the overall film a sense of grandeur.
Costumes (Motif)Ĭostumes are an integral part of the film. After Mozart arrives to court, Salieri begins to feel the futility of his prayers, and his relationship with God begins to deteriorate. Before Mozart arrived to court, he felt that God was answering his prayers. Prayer is a recurring aspect of the film. The last sound of the film is Mozart's laugh, which symbolizes that Salieri continues to be tormented by Mozart's laugh (a.k.a. Salieri believes that God is taunting him and laughing at him through Mozart's laugh. Mozart's laugh has a strong presence in the film.
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