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‘The Sound Of Music: Film Review

Film Review‘The Sound Of Music: Film Review
Read Time:5 Minute, 19 Second
‘The Sound Of Music: Film Review

The magic and allure of the 1959 Rogers-Hammerstein-Lindsay-Crowse stage hit come together beautifully in this cinematic interpretation of one of the greatest musicals to ever grace the screen. A warm and captivating drama set to RH's most imaginative use of haunting tunes, brilliantly directed and featuring an excellent cast headlined by Julie Andrews and Christopher Plummer, Robert Wise's performance should be a blockbuster. DeLuxe Color's beautiful Todd-AO shade is guaranteed to have a large print run and is expected to be one of the best sellers of the season, especially with Miss Andrews from the triumph of Mary Poppins. draws more attention.

Wise hired the same team of creative talent that he had on West Side Story to turn it into a theatrical property. With natural physical limitations, with more advanced camera capabilities. Ernest Lehman rewrote the screenplay for the Howard Lindsey-Buck Crouse stage version, a stunning portrayal of people and events; Saul Chaplin served as associate producer; and Boris Levene used all his art as a set decorator on an incredibly beautiful setting.

Telling the story of the Von Trapp family singers, the events that became the main attraction of concerts before World War II, and their escape from Nazi Austria, Wise visited the actual location, Salzburg, and spent 11 weeks working on the number. Among the sights of the Bavarian Alps. Ted McCord captures the beauty and charm of the country with light camerawork, blending the grandeur of towering mountains and tranquil lakes with the Old World grace of historic Music City, perfectly complementing the filmed interiors. in Hollywood. In this context, the story of a novice who became governess to the widowed captain von Trapp and his seven children at the Nonnenberg Abbey in Salzburg, until then under the strict regime of the naval authorities, brought music frivolously. if allowed, it takes on new meaning.

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Richard Rogers composed two new songs for the film and wrote the lyrics, as he did additional numbers for the State Fair remake. Mrs. Andrews's verses "I Trust Myself" and Andrews-Plummer's "A Good Thing" replace three songs from the original show that did not fit Lehman's edits in the book. Although neither is as attractive as the other, perhaps. Plus other songs. Both become interesting numbers.

Of particular interest is a sequence imitating part of the famous Salzburg Festival filmed at the impressive Felsenreitschule, or Rocky's Riding School. The amphitheater's massive stage is set against the backdrop of numerous arched tunnels carved into the rocky mountain that surrounds the city and provides a dramatic backdrop for the film's climactic scenes in which the von Trapp family flees after performing on stage. . as the crowd falls into the audience.

Miss Andrews plays a governess who wants to be a nun, but von Trapp falls in love and marries an army captain with a delicacy and modesty that ensure her lasting fame.

Plummer is also particularly strong as von Trapp, a former Austrian army officer who chooses to leave his homeland rather than join Hitler's service. He directs several song numbers, the focus of which is 'Edelweiss', which will be prominent in future films.

Play as a baroness. In The Captain Almost Married, Eleanor Parker dominates the style. Peggy Wood is particularly notable as the understanding mother who prevails over the young novice who fails to follow the abbey's disciplinary rules. One of the highlights of the movie is when she sings "Climb Every Mountain" to cheer the girl up after she returned from the von Trapp mansion. Richard Haydn stars as Max, a businessman who opens up a singing career for the von Trapp family while also effectively playing a character alien to his previous roles.

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They skilfully play all seven children, Charmian Carr being the eldest and showing off her beautiful voice in the hit number "Going On 17" with Daniel Truehitt. The two boys are played by Nicholas Hammond and Duane Chase, and the younger girls are played by Heather Menzies, Angela Cartwright, Debbie Turner, and Kim Karat.

Marnie Nixon, who played Audrey Hepburn in My Fair Lady, Natalie Wood in West Side Story, and Deborah Kerr in The King and I, appears briefly here, in her first film role, as Sister Sophia. He studies in Mary's room with Miss Wood and four other nuns. Ben Wright is fantastic as the Nazi leader, Daniel Truhit plays Rolf, a young Nazi turned Nazi, and Anna Lee is one of the sisters.

Several song numbers, without exception, made it to the expert charts. Mrs Andrews and the children "My Favorite Things" is perhaps the most inspiring, and "Do-Re-Mi", a walk through the streets of Salzburg, is "Do-Re-Mi". Miss Andrews' opening song marks the actual opening of the painting, accompanied by aerial views of the mountains and the puppet number "Lone Goat". His voice and the voice of the children. Give a light note. Moppet's "So Long, Goodbye" is catchy, and the various repetitions throughout the film add to the interest.

Every tech loan is excellent and awesome. William Reynolds' editing is sharp, timeless, and Dorothy Jeakins' costumes have just the flavor they need. Set design by Walter Schitt and Ruby Levitt matches the grandeur of the image, while choreography by Mark Bro and Dee Dee Wood dictate the color and sound of Murray Spivak and Bernard Freerix. An added bonus is special photo effects by LB Abbott and Emil Kosa, Jr. Founding Director Irwin Kostal's excellent review is one of its strongest assets.

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1965: Director Robert Wise, Film Editing William Reynolds, Music (Musical Adaptation or Arrangement) Irwin Kostal, Best Picture Robert Wise, Producer, Sound 20th Century-Fox Sound Department, James P. Corcoran, its director; and Sound Department Todd-AO, Fred Hynes, Director of Sound
Assignments: Actress – Julie Andrews ("Mary"), Supporting Actress – Peggy Wood ("Mother Abbess"), Production Designer (Colour) – Production Designer: Boris Levene; Set Design: Walter M. Scott, Ruby Levitt, Photography (color) Ted McCord, Costume Design (color) Dorothy Jeakins

History of the sound of music. How big is this story?

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