サウンド・オブ・ミュージック

One of cinema's most enduring family classics. What can one say about a film that now, as it gears towards its next anniversary of a 50th birthday, is loved and adored by so many? It feels, to me at least, kind of redundant trying to even write a review of it now. So really I just want to say that as a mid-forties cinema loving man I revisited the film recently for the first time in about 15 years and found it still had a magical kind of hold over me. Yes I still think it's too long, but ask me what I would cut out of the film and I'm at a bit of a loss to answer. Over the last thirty years or so it has become something of a focal point for parody, somewhat diminishing the actual film's first time appeal. Then there are the charges of it being hackneyed, but they are misplaced and very unfair for The Sound Of Music is an ode to life and music, nothing remotely hackneyed there me thinks. Bookended by stunning Salzburg scenery {seriously the opening helicopter sequence is breath taking}, the rest in between is a series of brilliant set pieces and some unforgettable Rodgers & Hammerstein tunes. Led by Julie Andrews & Christoher Plummer, the cast delight throughout. Yes, not everyone is note perfect, but it's a moot point really. As a guy it's at the one hour ten mark where I get something to hang my coat upon, from there on in the Von Trapp family, and their gorgeous governess, have me hook, line & sinker. The Sound Of Music, one of the greatest screen musicals ever. 9/10

Heard great things, got great things. I've said it before, but musicals aren't my favourite genre - I don't dislike them at all, but if I were to rank my favourite genres they would probably be down low. Therefore, I always feel uncertain before watching them, knowing they could go either way. <em>'The Sound of Music'</em>, though, is a delight. As alluded to, I have obviously heard countless positive things about this film down the years so I'm glad it didn't disappoint. Despite a potentially damaging 175 minute run time, it absolutely flew by - superb pacing. I will say the last 30-40 minutes do feel like a possibly unnecessary add-on, but it all still makes for entertaining viewing. How about that soundtrack? So many songs that have seriously passed the test of time in terms of relevance, I had practically heard of them all before despite never setting eyes of the film until now. "My Favorite Things" is the standout in my opinion, but all the music is excellent. Julie Andrews is terrific in the role of Maria, I will say early on I thought she might've been annoying given how excitable she is, but she quickly becomes great to watch throughout. Christopher Plummer is impressive, also. Those two are the clear stars of this, but all the other cast members do worthy jobs too. It's, so I read, not completely true to the real life story of Maria von Trapp & Co. However, all I care about is whether it's an entertaining film - which this undoubtedly is. A must-watch!

The opening scene from this film has been parodied umpteen times, and I think that just goes to show just how impactful Robert Wise's adaptation of the Rodgers and Hammerstein story has been on cinema. The idea that one could have seven children is, frankly, quite terrifying (I have none) so I can readily empathise with poor old Julie Andrews "Maria" as she is despatched from the safety of her nunnery to be the governess to this extended brood in the home of Captain von Trapp (Christopher Plummer). After an initially hostile reception from both father and youngsters alike, "Maria" soon ingratiates herself with all concerned - except, perhaps, for the Captain's beau Eleanor Parker who is wonderfully elegant and aloof as the "Baroness" - and romance gradually takes firm hold. The anschluss injects some seriousness into the fluffiness of the plot - the family must adjust to their new Nazi "protectors", but when the Captain is invited to take up a commission in the Navy they realise that they must act. Though a little cheesy at times, Andrews and Plummer are terrific, the songs are the stuff of musical legend, and I suspect one of the things that makes this more enduring is the fact that it is based on truth. The happiness tinged with the peril of the enveloping ruthlessness of the Nazis gives this an authenticity that would have been felt by many in Europe as Hitler was in the ascendancy and Wise manages to capture a little of that feeling. It's got some classy supporting performances from Peggy Wood (the Mother Abbess), a super Richard Haydn as the charming, if slightly opportunistic "Uncle Max" and even the ordinarily upstanding nuns get in on the act. There is definitely a chemistry between the two stars as their love story enfolds with the help of the children, a rather lavish puppet show - and a bit of Strauss! It looks great, too - musical cinema at it's best, this...