The Sound of Music (1965)
There’s a running joke at my house: every time I watch The Sound of Music, I remark, “I liked this movie more than ever this time around!” My mom laughs at me, since I seem surprised that it’s such a good movie. When I was a kid, however, I didn’t like it that much, which is why I am always surprised by how wonderful it is when I watch it all grown-up. As a child, I fell asleep during the long running time, and I didn’t understand the wartime setting. The only musical number I loved was “I Have Confidence,” and I would have been perfectly happy to see that song on a continuous loop for three hours.
As an adult, “I Have Confidence” is still my favorite song and scene of the film, and I never get tired of appreciating all Julie Andrews put into the physicality and expressive singing. It’s very funny that that song is my favorite, since it wasn’t included in the original stage musical; but to me, it perfectly showcases Maria’s character. She’s eager to help, anxious to be liked, headstrong, well-intentioned, enthusiastic, and adorable. Without that song, it might take a longer time to understand why the children love her and why the captain thaws. But in three minutes, before she even rings the doorbell, she’s irresistible.
It's not a necessity to love Julie’s performance, but it adds extra appreciation if you’ve seen The Sound of Music on the stage. It’s incredibly different, not only because her songs were originally written for an alto, and not only because she doesn’t twirl on top of the Swiss Alps singing the title song, but because all the infectious energy and great loving nature comes directly from Julie Andrews. It’s not exactly written into Maria von Trapp, but Julie put it there.
From child to adult, I always loved Eleanor Parker playing the elegant, classy baroness. Her clothes are so beautiful, and she uses a subtle delivery to change a villainous character into a sympathetic one. While I’m sure other actresses would have loved to play the baroness, like Joan Fontaine or Anne Baxter, Eleanor was extremely likable. I can’t imagine anyone else convincing the audience that Julie Andrews should return to the nunnery.
Thankfully, the story is about Maria and her relationship with the entire von Trapp family. If the main plot focused on the captain, I wouldn’t like the movie nearly as much. Every time I watch it, I try to find something in Christopher Plummer’s performance to like, but I never do. Peter Finch would have been wonderful, with more pain and less flippancy – and he can sing, too! Another fantastic choice would have been Curd Jurgens, who also sings, and who would have spoken in an authentic accent. And, given his personal background, there would be added emotional drama in the last portion of the film; if he sang goodbye to his country in front of Nazi officers, it would have an entirely different meaning.
But with all there is to love about the movie, does anyone (besides me) care about a little botch in the casting department? Robert Wise’s imaginative directing turns lackluster (no offense) songs like “Do-Re-Mi” into a sightseeing tour-de-force, and the beautiful sets of the von Trapp estate really show the audience what the family is willing to leave behind. Julie Andrews breathes new life into all her songs, whether she’s on top of a mountain or merely conducting a puppet show. Even folks who don’t like “The Lonely Goatherd” love the way it’s filmed in the movie, with such attention to detail as the kids “control” the puppets. The first half is whimsical, the second half is suspenseful, and each viewing is totally absorbing. Although it faced stiff competition at the 1965 awards season, the Hot Toasty Rag board members agreed with the Academy Awards (a rare occurrence) that it was indeed the best picture of the year.
Want to watch it? Click here to see it on ok.ru and thanks "Conrado Lanzetta" for posting!
More Julie Andrews movies here!
As an adult, “I Have Confidence” is still my favorite song and scene of the film, and I never get tired of appreciating all Julie Andrews put into the physicality and expressive singing. It’s very funny that that song is my favorite, since it wasn’t included in the original stage musical; but to me, it perfectly showcases Maria’s character. She’s eager to help, anxious to be liked, headstrong, well-intentioned, enthusiastic, and adorable. Without that song, it might take a longer time to understand why the children love her and why the captain thaws. But in three minutes, before she even rings the doorbell, she’s irresistible.
It's not a necessity to love Julie’s performance, but it adds extra appreciation if you’ve seen The Sound of Music on the stage. It’s incredibly different, not only because her songs were originally written for an alto, and not only because she doesn’t twirl on top of the Swiss Alps singing the title song, but because all the infectious energy and great loving nature comes directly from Julie Andrews. It’s not exactly written into Maria von Trapp, but Julie put it there.
From child to adult, I always loved Eleanor Parker playing the elegant, classy baroness. Her clothes are so beautiful, and she uses a subtle delivery to change a villainous character into a sympathetic one. While I’m sure other actresses would have loved to play the baroness, like Joan Fontaine or Anne Baxter, Eleanor was extremely likable. I can’t imagine anyone else convincing the audience that Julie Andrews should return to the nunnery.
Thankfully, the story is about Maria and her relationship with the entire von Trapp family. If the main plot focused on the captain, I wouldn’t like the movie nearly as much. Every time I watch it, I try to find something in Christopher Plummer’s performance to like, but I never do. Peter Finch would have been wonderful, with more pain and less flippancy – and he can sing, too! Another fantastic choice would have been Curd Jurgens, who also sings, and who would have spoken in an authentic accent. And, given his personal background, there would be added emotional drama in the last portion of the film; if he sang goodbye to his country in front of Nazi officers, it would have an entirely different meaning.
But with all there is to love about the movie, does anyone (besides me) care about a little botch in the casting department? Robert Wise’s imaginative directing turns lackluster (no offense) songs like “Do-Re-Mi” into a sightseeing tour-de-force, and the beautiful sets of the von Trapp estate really show the audience what the family is willing to leave behind. Julie Andrews breathes new life into all her songs, whether she’s on top of a mountain or merely conducting a puppet show. Even folks who don’t like “The Lonely Goatherd” love the way it’s filmed in the movie, with such attention to detail as the kids “control” the puppets. The first half is whimsical, the second half is suspenseful, and each viewing is totally absorbing. Although it faced stiff competition at the 1965 awards season, the Hot Toasty Rag board members agreed with the Academy Awards (a rare occurrence) that it was indeed the best picture of the year.
Want to watch it? Click here to see it on ok.ru and thanks "Conrado Lanzetta" for posting!
More Julie Andrews movies here!
Hot Toasty Rag Awards:
Best Picture of 1965
Best Director: Robert Wise
Best Actress: Julie Andrews
Best Supporting Actress: Eleanor Parker
Best Original Song: "I Have Confidence"
Hot Toasty Rag Nominations:
Best Supporting Actress: Peggy Wood
Best Dramatic Screenplay