I'm with svannater on this one. I apologize ahead of time if this gets long, but I must tell you why. It's much too simplistic if Morritz steals the real violin at the end. I believe that he is actually putting the real one back. The problem of the fake being discovered almost immediately is a very real one, and the writers would not overlook that, if you ask me. If you look closely, you can see some evidence, circumstantial of course, that he gave it back.
First, notice his quote: "What do you do when the thing you most wanted, so perfect, just comes?" For me, this is the first sign that he's going to be very cautious and thoughtful about the whole thing, moreso than the other string of people that came into contact with the violin over the centuries, who all simply had to HAVE it. This might be neither here nor there, but it reminds me a lot of "The Life of David Gale," which starts out with Laconic motif of how one should never actually get what they really want, lest they have nothing left to strive for (not the most accurate recap, but it will have to do).
Then flash forward to the scene of Morritz in the hotel room with his shirt off and the violin in a case on the table. I propose that it is the real one in the scene, not the copy. The reason that he is being so contemplative, staring out the window/at Anna's picture/at himself for the entire scene, is that he has it right there in front of him and NOBODY else knows (except for the restorer guy). In that moment it is absolutely his, he has got exactly what he has wanted to find all his life, and he is trying to get used to the idea. But he is not at peace. I would guess that the discovery of the blood varnish has something to do with it as well.
Now pair this with the scene that comes right before, in which all of the instruments are on display with auction tags already in place, and the violinist goes up to examine it. This scene, coupled with that mentioned above, seems to be much more meaningful if the display is the fake. Because the fake is assumed to be very nearly cosmetically accurate, it's no surprise that even the violinist cannot tell. This could serve to embolden Morritz that he might actually be able to get away with it. Notice how the camera (ominously?) focuses on the auction tag right before cutting the scene. And even if it is discovered to be the fake at that point, I would guess that Morritz might be able to talk his way out of it without getting into too much trouble.
Now, consider that even the fake is still special, not just for being a good violin but for what it represents. How could he give a bloody violin to his daughter? Instead, I see the copy as the best thing. His daughter gets a good instrument that has an interesting history and Morritz gets to hold onto the spirit of his discovery with a clean conscience. He is not selfish, I think he is in the end the wisest of all. Without elaborating further, he GETS it.
As for the "rebirth" part of the Tarot card reading, I feel as though the end of the journey could have been with Morritz, but instead the cycle is set to repeat itself in the hands of the violinist, who is full of lust for the instrument. In other words, in another couple hundred years they can make a sequel, starting with the violinist. This rebirth is not necessarily a good thing, merely a repeat of the past after a brief respite in the hands of someone (Morritz) who, in the end, truly seemed to appreciate what he was holding.
Now maybe I'm reading too far into all of this, but I don't think so. This ending is much more satisfying and rich, much more to try and read into, and there aren't any inherent problems with it. What do you guys think?
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svanatter
16 years ago
I agree with your reasoning. Thanks for giving supporting details.
(Especially when he is in his hotel room.)
Scott V.
P.S. I would remind those who are SURE Moritz stole the Red Violin, of the movie's Zen-like morality, where Moritz learns to give up "things" and focus on his daugther's love.
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