The Sound of Music (1965)

 Robert Wise's "The Sound of Music"


Undoubtedly one of the most popular films in history, 1965's "The Sound of Music" continues to be in the forefront of conversations regarding great cinema. Its songs are iconic (and still sung), its Technicolor is remarkable, and its themes continue to be relevant. Winner of 5 Academy Awards, including Best Picture, the film also was a commercial smash it, By 1966, it had surpassed "Gone with the Wind" at the U.S. box office to become the highest grossing film in history.

The film is an adaptation of an adaption of an adaption of a real-life even. Specifically, the real Von Trapp family fled Austria in 1938 and Maria wrote about their experiences in the 1949 memoir "The Story of the Trapp Family Singers" after the death of the patriarch in 1947. That memoir was turned into a Broadway production in 1959, which was then turned in to the 1965 musical film.

It centers on Maria, a young woman studying to become a nun in Austria. She is tasked by her mother superior to become the governess of the Von Trapp family after the death of their mother. The family's patriarch, George, is a strict naval captain who runs his children like a naval vessel crew. Maria's introduction to the family brings play, music, and a lack of discipline. Despite the initial frustrations, George not only accepts the new shift, but falls in love with Maria in the process. After their marriage, the family must escape Austria due to the Nazi occupation.

First and foremost, the film is a musical. This aspect is perhaps necessary given the amount of singing taught to the children, which makes the remaining musical numbers more tonally aligned. Really, music itself is a major theme. In the second half, music, frivolity, and play are thematic concepts that actively repel oppressive authoritarian. This is also demonstrated in the first half by the captain's authoritarianism over his children being softened by Maria's musical and playful contributions. 

If the concept of music and play being a natural resistance to oppressive measures, then the main concept of the film acts in this way as well. One may view the film as being too romantic or sentimental, as most film musicals at the period were. However, the film's notions are a bit audacious - suggesting that romanticism and sentimentality are necessary to political and social rebellion. 

European cinema was reaching a climax with the Nouvelle Vague, which played on similar ideas that playful deconstruction was a direct rebellion against the stuffy and stagnant cinematic infrastructure. However, the notion of musicality or sentimentality or the 'rose-colored' glasses effect was in any way included in these rebellious concepts was not a conceit of this movement. In fact, Nouvelle Vague was also a rebellion against American-made films - films that resembled "The Sound of Music."

Thus, making the main conceit that "The Sound of Music" and its thematic rhetoric are countermeasures against fascism and authoritarianism is quite an audacious sentiment (whether one agrees with the sentiments or not). It unabashed embrace of romanticism somehow works incredibly well with its story and themes. This makes the film unique in that way.

Beyond its themes, the sheer Technicolor majesty and the opulent nature of the film sweeps one off their feet. Its easy to fall into the magic of the film, and even easier to emphasize with the drama that unfolds in the second half. Every song is undeniably remarkable and memorable. The charm of both Julie Andrews and Christopher Plummer are palpable. In fact, the charm of the entire film itself renders it iconic. 



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