One reason why The Sound of Music may still be relevant today is the iconic passing down of the music from generation to generation. Many people seem to appreciate the music because their mother or grandmother sang it to them. “After all, it has been an iconic text for generations of children, or of adults reliving their own youths” (Flinn 11).
My final opinion about the Sound of Music is that, despite its music and interesting background, the movie should only be considered a “classic” by those who prefer a happy-go-lucky sidestep of reality. It is simply too cheesy. The emotional attachment people have to the movie completely overshadow the small and larger flaws and lack of plot and character development.“As the basis of our ‘emotional memories’ of the film, and of so many other references to it, the songs ground The Sound of Music phenomenon” (Flinn 13).
There is hardly any depiction of real conflict. The predictable plot is only upheld by the catchy but mediocre music. As Kevin Fallon says, “[t]here are two main conflicts driving the narrative in The Sound of Music. In one, a father is upset that his children’s clothes are made out of curtains. In the other, the Nazis are invading Austria. They are given the same weight.”
The only real source of legitimate conflict only a small illusion towards Nazism. Before I further researched The Sound of Music, I thought this could be a redeeming factor for the productions. The more I discovered, the more I also realized how silly the argument for The Sound of Music’s political relevancy is. Some sources claimed that the film has cultural importance by showing how far the Von Trapps went to flee the Nazis.
One of the most powerful quotes I found in Santropietro’s novel was this:
“The one brief shot of Nazis marching across the plaza works well, but nowhere is a sense of the true horrors represented by the Nazis to be found. Even in this one brief sequence, none of the Germans are shown carrying weapons. It’s almost as if the Germans simply represented a pesky problem that could be overcome by Maria’s energy and can-do spirit, with a nifty assist from nuns who steal carburetors from Nazi automotives. There are no Jews glimpsed in the film, certainly no minorities, and no sign of the disconcertingly warm welcome Austrians gave to Hitler at the time of the Anschluss” (178).
As I gathered more research about the story of the original Von Trapps and the productions, I was dismayed by how much it was changed and made into a huge romanticism. They essentially took the story of an orphan novice who married a captain because she loved his children, edited out several of the children, turned their priest music director into a flattering persona, and left out the entire rest of their story. The story is a hopeless, buttery fantasy that leaves me with empty calories.
Even the Austrians, as I have discovered, generally show indifference towards or flat out dislike The Sound of Music. Even as thousands of tourists flood Salzburg every year, the majority of Austrians remain passive. Many dislike the film because it is not indicative of their culture at all and gives them a reputation that all Austrians (other than the Von Trapps) were terrible Nazis (Perkins). This documentary spotlights some of their opinions on the story.
Another issue that Austrians have with the production is the way the nuns are presented. “The nuns – serious, intelligent, hardworking women of faith living in a 1,200-year-old nunnery – are presented mostly as comic foils for Maria who seems suspiciously irrepressible” (Santopietro 178). Because Nonnberg Abbey, the oldest abbey in Europe, is still a key part of Salzburg’s history and culture, it is understandable how the presentation of the religious life this way could alienate people from the film.
Music — Do the songs invoke the intended emotion? Are the songs relevant? Are the songs exciting?
The songs do invoke emotion, but it is all happiness and not much of anything else. The bright-eyed Maria may leave a few viewers with a sense of giddiness, but nothing more. The songs, though not showstopping, are definitely the best part of all of the productions. Although they don’t necessarily further the plot, they do add a colorful, fun dynamic to the productions.
Characters/Acting — Are the characters interesting and dynamic? Do they contribute to the story? Is the acting professional? Is the actors’ body language, tone, and facial expression relevant to the character? Can the viewers connect with the characters?
Generally, The Sound of Music has solid acting talent. Julie Andrews really brings life to the movie with her movie and energy, and the supporting actors were carefully chosen, and for good reason. However, there is hardly any character development. Maria’s character actually flatlines as the story draws closer to the end: the vibrant energy that she begins with seems to fade into a calm, complacency after she marries the captain. But overall, this section is pretty good as well.
Plot — Is the plot interesting and dynamic? Does it make the reader want to continue watching? Is the plot well-developed?
This section is where the problems begin to emerge. The plot is not dynamic and so sugarcoated that it could give someone diabetes. As I have mentioned, it is bothersomely unrealistic for something based off of a real event.
However, some could argue that they enjoy the plot. They say that the power of musicals and/or movies is in the human imagine. We know that the events on stage are not really occurring in real life, but we try to connect with the characters and music for entertainment. I understand that everything in a movie or musical cannot be truly represented. But that does not keep me from falling asleep as the family
Message — Is the underlying message important to someone’s life? Does the viewer walk away with a different emotion or viewpoint on life?
While some could find meaning in this, I believe the only message they leave the viewer with is vague and generic: follow your dreams!
So overall, if you are into an exclusively feel-good production with cute music and little angst, this might be the movie for you. As Santropietro puts it,“[f]or men and women whose lives seem like an endless argument without any clear winner, the film is not a sugarcoated lie. The predictability of the plot and the inevitability of the happy ending are precisely what comfort.”
For the rest of us, The Sound of Music, despite some redeeming qualities, is not truly the “perfect” movie many seem to idolize it as.