The Sound of Music (film)

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The Sound of Music
Sound of music.jpg
Theatrical release poster by Howard Terpning
Directed byRobert Wise
Produced byRobert Wise
Screenplay byErnest Lehman
Based onThe Sound of Music by
Howard Lindsay (libretto)
Russel Crouse (libretto)
The Story of the Trapp Family Singers by
Maria von Trapp (uncredited)
Music by
CinematographyTed D. McCord
Edited byWilliam H. Reynolds
Distributed by20th Century Fox
Release dates
  • March 2, 1965 (1965-03-02) (USA)
  • March 29, 1965 (1965-03-29) (UK)
Running time
174 minutes
CountryUnited States
Budget$8.2 million[1][2]
Box office$286,214,286[1]
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The Sound of Music
Sound of music.jpg
Theatrical release poster by Howard Terpning
Directed byRobert Wise
Produced byRobert Wise
Screenplay byErnest Lehman
Based onThe Sound of Music by
Howard Lindsay (libretto)
Russel Crouse (libretto)
The Story of the Trapp Family Singers by
Maria von Trapp (uncredited)
Music by
CinematographyTed D. McCord
Edited byWilliam H. Reynolds
Distributed by20th Century Fox
Release dates
  • March 2, 1965 (1965-03-02) (USA)
  • March 29, 1965 (1965-03-29) (UK)
Running time
174 minutes
CountryUnited States
Budget$8.2 million[1][2]
Box office$286,214,286[1]

The Sound of Music is a 1965 American musical film directed and produced by Robert Wise and starring Julie Andrews and Christopher Plummer. The film is derived from the Broadway musical The Sound of Music, with songs written by Richard Rodgers and Oscar Hammerstein II, the musical book written by the writing team of Howard Lindsay and Russel Crouse, and the screenplay written by Ernest Lehman. Based on the book The Story of the Trapp Family Singers by Maria von Trapp, the film is about a young woman who leaves an Austrian convent to become a governess to the seven children of a naval officer widower. The Sound of Music contains several popular songs, including "Edelweiss", "My Favorite Things", "Climb Ev'ry Mountain", "Do-Re-Mi", "Sixteen Going on Seventeen", "The Lonely Goatherd", and the title song, "The Sound of Music".

The Sound of Music was filmed on location in Salzburg, Austria; the state of Bavaria in Germany; and at the 20th Century Fox studios in California, United States. It was photographed in the 70mm Todd-AO format by Ted D. McCord. The film won five Academy Awards including Best Picture and displaced Gone with the Wind as the highest-grossing film of all-time. The accompanying sound track album was nominated for a Grammy Award for Album of the Year.

In 2001, the United States Library of Congress selected the film for preservation in the National Film Registry as it was deemed "culturally, historically, or aesthetically significant."


In 1938, while living as a young postulant at Nonnberg Abbey in Salzburg, Austria, Maria is constantly getting into mischief to the consternation of the nuns and the Mother Abbess. After receiving a request from a widowed Austrian naval captain for a governess for his seven children, Mother Abbess asks Maria to accept the position, and Maria reluctantly agrees. When she arrives at the von Trapp estate, Maria discovers that Captain Georg von Trapp keeps it in strict shipshape order. He uses a whistle to summon his children, issues orders, and dresses his children in sailor-suit uniforms. Although initially hostile toward her, the children eventually warm to her and she teaches them how to sing and allows them to play.

The Captain takes an extended visit to a lady friend, Baroness Elsa Schraeder, a wealthy socialite from Vienna, who accompanies him upon his return. While taking a boat ride on the lake, the children become excited at their father's return and cause the boat to capsize, precipitating an argument between the Captain and Maria. The Captain is displeased with the activities she has arranged for the children and furiously orders her to return to the abbey. However, the Captain later relents when he hears the children singing for the Baroness, and apologizes to Maria and asks her to stay. Max Detweiler—a mutual friend of the Captain and the Baroness—who is searching for a novel musical act to enter into the upcoming Salzburg Festival, is impressed by the children's singing, but the Captain forbids their participation.

At a banquet the Captain has organized in honor of Baroness Schraeder, eleven-year-old Kurt watches the guests dancing the Ländler and he asks Maria to teach him the steps. When the Captain sees Maria dancing in the moonlight, he cuts in and partners her in a graceful performance, culminating in a close embrace; Maria breaks away and blushes, confused about her feelings. At the end of the evening, the Baroness, noticing the Captain's attraction to Maria, convinces her to return to the abbey. Back at the abbey, Maria keeps herself in seclusion until Mother Abbess persuades her to return to the von Trapp family. When she discovers that the Captain is now engaged to the Baroness, she agrees to stay until they find a replacement governess. Realizing that he is in love with Maria, the Captain breaks off the engagement, and they subsequently declare their love for each other; soon after, the two are married in an elaborate ceremony.

While the Captain and Maria are on their honeymoon in Paris, Max enters the children in the Salzburg Music Festival against their father's wishes. Austria is annexed into the Third Reich in the Anschluss, and upon their return the Captain is informed by telegram that he must report as soon as possible to the German Naval Headquarters in Bremerhaven to accept a commission in the German navy. Strongly opposed to Nazism, the Captain tells his family they must leave Austria. As the von Trapp family attempts to leave during the night, they are stopped by Nazi guards outside their estate. They lie to the guards, claiming they are performing in the Salzburg Festival, so Hans Zeller, the recently appointed Nazi Gauleiter, agrees to accompany them to the hall, but insists that the Captain depart for Germany immediately after the performance. The family takes part in the contest and slip away during their final number, seeking shelter from the patrolling guards at the abbey cemetery. They are discovered hiding by Rolfe (a former messenger boy enamoured of the Captain's sixteen-year-old daughter, Liesl, but now a proud Nazi) who threatens to shoot the Captain. The Captain is able to disarm the boy and tries to persuade him to escape with them, but Rolfe calls for assistance. After the family escapes in a waiting car, the Nazis try to pursue but their cars fail to start, having been sabotaged by the nuns. The von Trapp family hikes over the Alps into Switzerland and to freedom.



Darryl and Richard D. Zanuck originally asked Robert Wise to do the film, but he turned it down because it was "too saccharine". They then approached Stanley Donen, Vincent Donehue, Gene Kelly, and George Roy Hill, but they all turned it down.[4] Zanuck next asked William Wyler to direct the film. Because he was suffering from a loss of hearing that affected his ability to appreciate music fully, Wyler felt he was the wrong man for the job, but he agreed to fly to New York and see the Broadway production. Feeling many of the songs did not evolve organically from the plot, he remained undecided and wrote to the producer of Die Trapp-Familie, a 1956 non-musical film about the von Trapps starring the German screen star Ruth Leuwerik, to ask his advice. "This cannot fail," he responded, and Wyler accepted the assignment.[5]

Wyler had seen the original Broadway production of My Fair Lady and had been impressed by Julie Andrews, who was in the process of filming Mary Poppins. He, along with screenwriter Ernest Lehman, met with her on the set and asked Walt Disney if they could see some of the dailies. Convinced she was perfect for the role of Maria, he signed her to a contract.[5]

Wyler returned to New York City and met with Maria von Trapp, then he and Ernest Lehman and their wives flew to Austria to begin scouting locations in the Tyrolean Alps. There they visited the convent where von Trapp had been a novice, and Wyler discussed the possibility of filming scenes there with the Mother Superior. He then met with the mayor of Salzburg. Wyler was concerned that the presence of a film crew shooting German troops parading before buildings draped with the Nazi flag would be a harsh reminder of the Anschluss for those who had experienced it. The mayor assured him the residents had managed to live through it the first time and would survive it again.[5]

Wyler returned to Hollywood and began pre-production work on the film, but his wife realized his heart clearly was not in it. Then he was approached by Jud Kinberg and John Kohn, neophyte film producers who had purchased the rights to the John Fowles novel The Collector prior to its publication. They had a commitment from Terence Stamp to star in the film and a first draft screenplay by Stanley Mann. Wyler was impressed with the script and, feeling an affinity with the project he did not with The Sound of Music, he asked the Zanucks to release him from his contract. They agreed, and Robert Wise, who became available due to delays in production of The Sand Pebbles, was hired to replace Wyler.[4][5]

The opening scene and aerial shots were filmed in Anif (Anif Palace), Mondsee, and Salzkammergut (Fuschl am See, St. Gilgen and Saint Wolfgang).[6]

Hohenwerfen Castle served as the main backdrop for the song "Do-Re-Mi". At the Mirabell Gardens in Salzburg, Maria and the children sing "Do-Re-Mi", dancing around the horse fountain and using the steps as a musical scale.

British-born character actress Norma Varden lobbied Robert Wise for the role of the Mother Superior, but to no avail. "I knew Robert Wise," she later recalled in an interview. "I worked for him and he'd always liked my work. But he said, 'Yes, I know you would be perfect, Norma, but they want someone who can sing.' Varden was instead cast in the small role of the housekeeper Frau Schmidt. Peggy Wood, who was cast as the Mother Superior, had her singing dubbed for the musical numbers.[7]

Historical accuracy[edit]

Both the musical and the film present a history of the von Trapp family, albeit one that is not completely accurate. The following are examples of the dramatic license taken by the filmmakers:

  1. Georg Ludwig von Trapp was indeed anti-Nazi and opposed to the Anschluss, and lived with his family in a villa in a district of Salzburg called Aigen; however, the lifestyle depicted in the film greatly exaggerated their standard of living. The real family villa (located at Traunstraße 34, Aigen 5026 in Salzburg) was large and comfortable but nowhere near as grand as the palace depicted in the film. The house was also not the ancestral home depicted in the film. The family had previously lived in homes in Zell Am See and Klosterneuburg after being forced to abandon their actual ancestral home in Pola due to the war. Georg moved the family to the Salzburg villa shortly after the death of his first wife in 1922.[8]
  2. Georg had lost most of the family fortune, inherited from his first wife, the heiress Agathe Whitehead, in a poor business decision trying to prop up a failing Austrian bank managed by a friend a few years after his marriage to Maria. This left the von Trapps virtually bankrupt and they managed to get by only by laying off all of the staff and by taking in boarders. The family’s entry into the music business was primarily due to their precarious financial situation, a fact that caused the proud Georg much embarrassment.[9]
  3. Maria Augusta Kutschera had indeed been a novice at Benedictine Abbey of Nonnberg in Salzburg and had been hired by the von Trapp family. However she was hired only to be a tutor to young Maria Franziska ("Louisa" in the movie), who had come down with scarlet fever and needed her lessons at home, not to be a governess for all of the children.[8]
  4. Practicality rather than love and affection moved Georg and Maria to marry. Georg needed a mother figure for the children; in deciding not to return to the convent Maria needed the security of a husband and family. Despite the film's portrayal of their budding romance, Maria admitted in her autobiography Maria, that she was not in love with Georg at the time of their marriage. "I really and truly was not in love. I liked him but didn't love him. However, I loved the children, so in a way I really married the children." Maria did however later intimate that she grew to love Georg over time and enjoyed a happy marriage.[8]
  5. Georg is referred to as Baron von Trapp but his actual family title was "Ritter" (German for "knight"). Ritter is a hereditary knighthood closer to the British "baronet" than "baron". Furthermore, the Austrian nobility was legally abolished in 1919 and the nobiliary particle von was proscribed so he was legally "Georg Trapp". In reality however both the title and the von particle continued to be widely used unofficially as a matter of courtesy.[8]
  6. Maria and Georg were married in 1927, not in 1938 as depicted in the film. The couple had been married for over a decade by the time of the Anschluss and had two of their three children together by that time.[8]
  7. Georg is depicted in the film as a humorless martinet and an emotionally distant father. In reality, third child Maria von Trapp (called "Louisa" in the film), described her father as a doting parent who made handmade gifts for the children in his woodshop and who would often lead family musicales on his violin. She has a different recollection of her stepmother however. Far from the sweet and demure woman depicted in the film, Maria von Trapp recalls her stepmother Maria as being moody and prone to outbursts of manic rage. "[She] had a terrible temper. . . . And from one moment to the next, you didn't know what hit her. We were not used to this. But we took it like a thunderstorm that would pass, because the next minute she could be very nice," she stated in a 2003 interview.[8]
  8. Georg had been offered a position in the Kriegsmarine but this occurred before the Anschluss. He was being heavily recruited by the Nazis because he had extensive experience with submarines and Germany was looking to expand its fleet of U-boats. Unlike in the film, Georg seriously pondered the offer before turning it down. His family was in desperate financial straits and he had no other marketable skills other than his training as a naval officer. He eventually decided that he could not serve a Nazi regime. Rather than threaten arrest, the Nazis actually continued to try to woo him.[8]
  9. Georg was never in serious danger of being arrested by the Nazis. He had turned down the Kriegsmarine commission before the Nazis had taken over Austria so they could not have arrested him at that time even if they had wanted. In fact, after leaving Austria, he and the family visited Austria again and stayed for several months in 1939 before departing again for good without incident. This was nearly a year after their emigration and after the Anschluss when the Nazis could have easily detained him.[8]
  10. The Anschluss occurred in March, and the Salzburg Music Festival is held in June; therefore, the family could not have escaped after their festival performance before the borders closed. However, it is likely that this is why they are shown hiking over the mountain across the border: to avoid the checkpoints.[8]
  11. The bell cord on the real Nonnberg Abbey is strictly a prop created by the film crew and is entirely non-functional. The nuns liked it however and asked that it be left after the film crew vacated.[8]
  12. The character Max Detweiler, the scheming family music director, is entirely fictional. The von Trapps' priest, the Reverend Franz Wasner, acted as their musical director for over 20 years and accompanied them when they left Austria.[8]
  13. The film shows the von Trapp family hiking over the Alps from Austria to Switzerland, but from Salzburg this would be impossible. Salzburg is only a few kilometers away from the Austrian–German border and is much too far from either the Swiss or Italian borders for the family to reach by walking. In fact, a hike over the mountain from Salzburg would put them in the German town of Berchtesgaden and virtually within sight of Adolf Hitler's vacation cottage at Obersalzberg. However, the family most likely did not intend to leave Salzburg on foot. They are shown to escape from Salzburg by car, so theoretically they could have driven through the night to a point closer to the Swiss (or Italian) border before starting their hike.[8]
  14. In fact rather than making a daring nighttime hike, the von Trapp family simply walked to the local train station and boarded a train to Italy. Although he was an ethnic German-Austrian, Georg was born in the Dalmatian city of Zadar, which at that time was part of the Austro-Hungarian Empire but fell into Italian territory after the empire was divided following World War I. Because of his birthplace he could legally claim Italian citizenship. From Italy, they traveled to London and ultimately the United States. Maria Franziska von Trapp ("Louisa" in the movie) later intimated, "We did tell people that we were going to America to sing. And we did not climb over mountains with all our heavy suitcases and instruments. We left by train, pretending nothing."[8]
  15. Friedrich (the second oldest child in the film version) was based on Rupert, the oldest of the real von Trapp children. Liesl (the oldest child in the film) was based on Agathe von Trapp, the second oldest in the real family. The names and ages of the children were changed, in part because the third child (who would be portrayed as "Louisa") was also named Maria and producers thought that it would be confusing to have two characters called Maria in the film.[8]
  16. The film was largely filmed in the city and county of Salzburg and Upper Austria, including sites such as Nonnberg Abbey, and St. Peter's Cemetery. Leopoldskron Palace, Frohnburg Palace and Hellbrunn Palace were some of the locations used for the Trapp estate in the film.[8]

The inaccuracies between the true story and the theatre and film depictions cannot be blamed on the von Trapps themselves. They had given up the rights to their story to a German producer in the 1950s who then sold them to American producers. The von Trapps had little if any input into the subsequent musical and film. Maria in fact was reportedly quite upset with the portrayal of her husband as a humorless taskmaster."[8]


Original soundtrack
UK Albums Chart[10]19651

All songs have music by Richard Rodgers and lyrics by Oscar Hammerstein II unless otherwise noted. Instrumental underscore passages were adapted by Irwin Kostal.

  1. "Prelude and The Sound of Music"
  2. "Overture" (Main Titles, consisting of "The Sound of Music", "Do-Re-Mi", "My Favorite Things", "Something Good" and "Climb Ev'ry Mountain") segué into the Preludium
  3. "Preludium: Dixit Dominus", "Morning Hymn" (Rex admirabilis and Alleluia, based on traditional songs)
  4. "Maria"
  5. "I Have Confidence" (@ 18:04) (lyrics and music by Richard Rodgers)
  6. "Sixteen Going on Seventeen" (@ 37:22)
  7. "My Favorite Things" (@ 47:42)
  8. "Salzburg Montage" (instrumental underscore based on "My Favorite Things")
  9. "Do-Re-Mi" (@ 54:55)
  10. "The Sound of Music" (reprise)
  11. "The Lonely Goatherd" (@ 1:15:38)
  12. "Edelweiss" (@ 1:21:36)
  13. "The Grand Waltz" (instrumental underscore, based on "My Favorite Things")
  14. "Ländler" (instrumental based on "The Lonely Goatherd")
  15. "So Long, Farewell" (@ 1:29:43)
  16. "Processional Waltz" (instrumental underscore)
  17. "Goodbye Maria/How Can Love Survive Waltz" (instrumental underscore, incorporating "Edelweiss" and the deleted song "How Can Love Survive?")
  18. "Edelweiss Waltz" (instrumental, Act 1 Finale, based on "Edelweiss")
  19. "Entr'acte" (instrumental, consisting of "I Have Confidence", "So Long, Farewell", "Do-Re-Mi", "Something Good" and "The Sound of Music")
  20. "The Sound of Music" (Sad Reprise Incomplete)
  21. "Climb Ev'ry Mountain"
  22. "My Favorite Things" (reprise)
  23. "Something Good" (lyrics and music by Rodgers)
  24. "Processional" (instrumental) and "Maria" (Buddy Cole at the Organ)
  25. "Sixteen Going On Seventeen" (reprise)
  26. "Do-Re-Mi" (Salzburg Folk Festival reprise)
  27. "Edelweiss" (Salzburg Folk Festival reprise)
  28. "So Long, Farewell" (Salzburg Folk Festival reprise)
  29. "Climb Ev'ry Mountain" (reprise)
  30. "End Titles"

"Edelweiss", thought by some to be a traditional Austrian song or even the Austrian national anthem,[11] was written expressly for the musical by Rodgers and Hammerstein. Originally unknown in Austria, it has been promoted heavily there ever since, especially in Salzburg.[citation needed]

The songs "How Can Love Survive?", "An Ordinary Couple" and "No Way to Stop It" were not used in the film version. The omission of those songs had to be approved through Richard Rodgers.[citation needed] ("Something Good", with music and lyrics by Rodgers, was used in the film in place of "An Ordinary Couple". He also provided the music and lyrics for "I Have Confidence". Hammerstein had died in 1960.)

There were four extra children singing with the ones onscreen to add more effect to their voices, including Darleen Carr, Charmian Carr's younger sister. However, these were uncredited. Darleen Carr sang Kurt's high voice, during the reprise and "sad" versions of the title song, as well as the high "Bye" in the song "So Long, Farewell", and later for Gretl in its reprise towards the end of the film.[citation needed]



The film premiered March 2, 1965, in the United States.[12] According to The Oxford Companion to the American Musical (2008) "the wildly mixed film reviews echoed those of the Broadway critics"[13] while in The Oxford Companion to Film (1976) the response of reviewers is described as "lukewarm".[14] Film critic Pauline Kael responded to the film by calling it "the sugar-coated lie people seem to want to eat," and "we have been turned into emotional and aesthetic imbeciles when we hear ourselves humming the sickly, goody-goody songs."[15] This review reportedly led to Kael's dismissal from McCall's magazine.[15][16] As of April 2014 it holds an 85% approval rating on Rotten Tomatoes.[17]

Controversy surrounded the film's release in Germany and Austria, where the film had to compete with the much-loved Die Trapp-Familie (1956), which provided the original inspiration for the Broadway musical, and its sequel Die Trapp-Familie in Amerika (1958), which are regarded in German-speaking Europe as the authoritative von Trapp story. According to a documentary titled From Fact to Phenomenon: The Real Story of the von Trapp Family Singers (1994), which was narrated by Claire Bloom and included on the 30th Anniversary Laserdisc box set of the film, "...the film's Nazi overtones brought about the unauthorized cutting of the entire third act," which begins directly after Maria's wedding to the Captain and contains images of post-Anschluss Austria. This version, ending at the church altar, did passably well at the box office, but when the American studio forced the third act to be restored to the German release, audience attendance plummeted. Austrian filmgoers in particular resented the way Naziism in their country was depicted. Other offenses in the Austrians' eyes were the way the family's kindly manager, Father Wasner, was transformed into a sleazy huckster; changing the family's genre of music into show tunes; and a contrived (and fictional) climactic flight over the mountains to Switzerland, which does not border Salzburg. As a result, in Austria and Germany the movie is often ignored.[18]

The Sound of Music is credited as the film that saved 20th Century Fox, after extreme high production costs and financial losses incurred by Cleopatra (1963) that almost bankrupted the studio.[16] The film was re-released in the United States during 1973 and earned an estimated $11 million in rentals.[19]

Upon its initial release, The Sound of Music briefly displaced Gone with the Wind as the highest-grossing film of all-time;[20] taking re-releases into account, it ultimately grossed $286 million internationally.[1] Adjusted to contemporary prices it is the most successful musical ever made, as well as being the third highest-grossing film at the North American box office and the fifth highest-grossing film worldwide.[21][22]

The soundtrack album on the RCA Victor label has sold over 11 million copies worldwide, and has never been out of print. The soundtrack album was included in the stockpile of records held in 20 underground radio stations of Great Britain's Wartime Broadcasting Service, designed to provide public information and morale-boosting broadcasts for 100 days after a nuclear attack.[23][24]

Television and home video[edit]

The first American television transmission of the film was on ABC on February 29, 1976, to record ratings. However, the film was not seen on TV again until NBC acquired the broadcast rights. NBC's first telecast of the film was on February 11, 1979.[25] NBC continued to air it annually for twenty years, often preempting regular programming. During most of its run on NBC, the film was heavily edited to fit a three-hour time slot (approximately 140 minutes without commercials). The 30 minutes of edits, which bewildered those familiar with the complete film, included: portions of the "Morning Hymn/Alleluia", sung by the nuns; part of dialogue scene in abbey between Mother Abbess and Maria; part of Liesl and Rolf's dialogue preceding "Sixteen Going on Seventeen"; Liesl's verse of "Edelweiss" sung with the Captain; the Captain and Baroness waltzing at the party, and many more dialogue cuts within existing scenes.

Starting in 1995, the movie aired in an uncut form on NBC (on April 9, 1995, minus the entr'acte). Julie Andrews hosted the four-hour telecast which presented the musical numbers in a letterbox format. As the film's home video availability cut into its TV ratings, NBC let their contract lapse at the turn of the 21st century. In 2001 it had a one time airing on the Fox network, again in its heavily edited 140-minute version. Since 2002 it has aired on ABC (generally during Christmas week), and periodically (generally around Easter and other holidays) on its sister cable network, ABC Family, where its most recent runs have been the full version in a four-hour time slot, complete with the entr'acte. ABC first broadcast an HD resolution version on December 28, 2008. ABC's December 22, 2013 airing of the film attracted 6.5 million viewers—its highest ratings since 2007. The increased viewership was credited to NBC's broadcast of a live adaptation of the musical based upon its Broadway version, earlier that month (ironically, the film was beaten by another NBC program, a Sunday-night NFL football game).[26]

The film has been released on VHS, Laserdisc, and DVD numerous times. It made its DVD debut on August 29, 2000 in commemoration of its 35th Anniversary. The film is often included in box sets with other Rodgers & Hammerstein film adaptations. A 40th anniversary DVD, with "making of" documentaries and special features, was released in 2005. The film made its debut issue on Blu-ray Disc on November 2, 2010, for its 45th anniversary.[27][28] For the Blu-ray release, the original 70mm negatives were rescanned at 8K resolution, then restored and remastered at 4K resolution for the transfer to Blu-ray, giving the most detailed copy of the film seen thus far.

Sing-A-Long Sound of Music[edit]

Sing-A-Long Sound of Music revival screenings began in London, where the audience was encouraged to sing along to lyrics superimposed on the screen. Following a successful run there, the film began a successful run in New York in 2000.[29] Audiences would dress in costume and hold contests at screenings. The revival continued to tour globally following the New York run. A sing-a-long screening at the Hollywood Bowl was featured in an extra on the two-DVD set.[30]



The Sound of Music was one of the honored films of 1965, receiving ten Academy Award nominations (winning five Oscars, including Best Picture), four Golden Globe nominations (winning two for Best Picture – Musical or Comedy and Best Actress – Musical or Comedy for Julie Andrews), and other numerous award wins and nominations.

Academy Awards[31]Best PictureRobert WiseWon
Best Actress in a Leading RoleJulie AndrewsNominated
Best Actress in a Supporting RolePeggy Wood
Best DirectorRobert WiseWon
Best Cinematography – ColorTed D. McCordNominated
Best Art Direction – Set Decoration – ColorBoris Leven (art direction); Walter M. Scott and Ruby R. Levitt (set decoration)
Best Costume Design – ColorDorothy Jeakins
Best Sound MixingJames Corcoran and Fred Hynes; 20th Century Fox Sound DepartmentWon
Best Film EditingWilliam H. Reynolds
Best Music, Scoring of Music – Adaptation or TreatmentIrwin Kostal
American Cinema Editors Awards 1966Best Edited Feature FilmWilliam H. Reynolds
BAFTA AwardsBest British ActressJulie AndrewsNominated
10th Annaul David di Donatello AwardsBest Foreign Actress
Directors Guild of AmericaOutstanding Directorial Achievement in Motion PicturesRobert WiseWon
Golden Globe Awards[32]Best Motion Picture – Musical or ComedyThe Sound of Music
Best Motion Picture Actress – Musical or ComedyJulie Andrews
Best Supporting Actress – Motion PicturePeggy WoodNominated
Best Director – Motion PictureRobert Wise
Grammy AwardsAlbum of the YearThe Sound of Music Soundtrack performed by Various Artists
1966 Laurel AwardsGeneral EntertainmentThe Sound of MusicWon
Musical Performance, FemaleJulie Andrews
National Board of ReviewTop Ten Films of 1965The Sound of Music
New York Film Critics CircleBest ActressJulie Andrews2nd place
Writers Guild of AmericaBest Written American MusicalErnest LehmanWon

AFI recognition[edit]

The Sound of Music has been included in numerous top film lists from the American Film Institute.[33]

"The Sound of Music" – No. 10
"My Favorite Things" – No. 64
"Do-Re-Mi" – No. 88


Every year starting in 2005, the Hollywood Bowl in Los Angeles holds an annual Sound of Music sing-a-long, where the film is played with lyrics underneath the screen. The real Von Trapp children and the actors who played them in the film have made appearances at this event. Fondly called "The Rocky Horror Picture Show on Prozac", the Hollywood Bowl event has sold out every year since its inception.

The song "The Sound of Music" was used in the movie Moulin Rouge!, in the green fairy sequence featuring Kylie Minogue, who later used the recording in her 2002 and 2009 tours.

On October 28, 2010, in honor of the film's 45th anniversary, Julie Andrews and Christopher Plummer ("Maria" and "the Captain"), plus the movie's seven child stars, appeared together on The Oprah Winfrey Show (the first time ever since the film's 1965 release).

A key episode in Arundhati Roy's "The God of Small Things" features the boy Estha, one of the book's protagonists, going to see "The Sound of Music" in a theatre at his Kerala, India hometown and there being sexually assaulted by a lemonade vendor - a traumatic experience utterly antithetical to the film's own atmosphere.


  1. ^ a b c "The Sound of Music". The Numbers. Nash Information Services. Retrieved April 26, 2011. 
  2. ^ Solomon, Aubrey (1989). Twentieth Century Fox: A Corporate and Financial History. Lanham, Maryland: Scarecrow Press, p. 254, ISBN 978-0-8108-4244-1.
  3. ^ Darleen Carr, speaking on Secret Voices of Hollywood, BBC Four TV
  4. ^ a b Classic American films: conversations with the screenwriters. William Baer. 2008: Greenwood.
  5. ^ a b c d Herman, Jan, A Talent for Trouble: The Life of Hollywood's Most Acclaimed Director. New York: G.P. Putnam's Sons 1995. ISBN 0-399-14012-3, pp. 419–422
  6. ^ "The Sound of Music-shooting locations". 2007. Retrieved 25 September 2014. 
  7. ^ The Real Stars. Leonard Maltin. Classic American films: conversations with the screenwriters. 1979: Popular Library
  8. ^ a b c d e f g h i j k l m n o p Gearin, Joan (Winter 2005). "Movie vs. Reality: The Real Story of the von Trapp Family". National Archives 37 (4). Retrieved 17 February 2013. 
  9. ^ Hirsch 1993, pp. 201–202.
  10. ^ "Chart Stats – Original Soundtrack – The Sound of Music". Archived from the original on July 23, 2012. Retrieved June 3, 2011. 
  11. ^ November 7, 2006. "How Do You Solve a Problem Like Maria?" BBC.
  12. ^ "The Sound of Music". American Film Institute. Retrieved August 4, 2014. 
  13. ^ Thomas Hischak The Oxford Companion to the American Musical, New York: Oxford University Press, 2008 (hbk),.p.697
  14. ^ Liz-Anne Bawden (ed.) The Oxford Companion to Film, London: Oxford University Press, 1976, p.646
  15. ^ a b Tucker, Ken (February 9, 1999). "A Gift for Effrontery". Retrieved April 3, 2008. 
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