“The Sound of Music” reigns in its 60th anniversary on Sept. 22, and the only correct action to take is to not watch it. Yes, not watch it — this is not a typo. We already have enough madness in this world, and we don’t need another person caroling down the hallway to add to it.
Does it have a couple of bangers? Absolutely. Do many good parodies reference it? Again, yes. But is it also like that one person who always has something to say? 100%. The movie is good, but not perfect.
The modern version of “The Sound of Music” younger people may be familiar with is likely the SNL parody skit. The skit featured John Mulaney and Cecily Strong. Cecily, as Liesl, says, “I am 16, going on 17… You are 17, going on 18.” John Mulaney, as Rolfe, responds, “Actually, I’m 33.”
“The Sound of Music” is a movie considered to be a household name across the country, which is just shocking. None of that is to say this is not an adorned, acclaimed and beautiful film with such grace and warmth.
Maria, played by Julie Andrews, is a part of a convent. While she is away singing in the hills, the sisters gather around and decide maybe the fate she has chosen isn’t hers. They agree in big-brother fashion, more or less, to send her away — specifically to a family of eight: a father and his seven children, in addition to their housekeeper, butler and Uncle Max.
As she mistakenly waltzes into the home, she finds the children operating like wind-up dolls under their father’s command. The father goes away to see his mistress and brings her back to the house. Meanwhile, Maria teaches the children the joys of ordinary childhood through singing.
While watching the children weave through the leaves of the trees, and emerge quickly out of the water her father snaps. After a bit of arguing, Maria and the father come inside to see the children impressing the mistress, changing his mind.
Just as that has come to a close, a new problem arises. The mistress tells Maria that it is apparent the father likes her. She wasn’t wrong on that part, and Maria leaves, finding it immoral. Afterwards, the mistress plans to send the children to boarding school, only marrying the father with the intent to combine their respective masses of wealth.
Maria, arriving back at the convent, asks the reverend mother what she should do with her romantic feelings. The mother sends her back, telling her, “You have to live the life you were born to live.”
Watching Maria from the balcony, fondly, reminiscent of the Police’s “Every Breath You Take,” the father declares his love. Near-instantaneously, they are wed. Then the entire family escapes to Salzburg, as Nazis take control of Austria.
Just like other musicals, “The Sound of Music” is overly explanatory and shallow, like physical humor. Everything on screen was too easy to digest, as to be expected with musicals.
Richard Rodgers, composer, and Oscar Hammerstein II, lyricist, did an amazing job with the soundtrack. The two also collaborated on “Cinderella” (1957), “The King and I” (1951), “South Pacific” (1949), “Carousel” (1945) and “Oklahoma!” (1943).
Julie Andrews and her performances are easy to enjoy. Not to sound like a broken record, but this was another strong performance of hers. Her portrayal of Maria is the epitome of whimsy — childlike while also rightfully assertive. Hopefully when audiences first saw it, little girls everywhere felt a spark of their own independence.
Final verdict: “The Sound of Music” is solid, not liquid — not perfect, but it holds up. With the 60th anniversary on its way, we should challenge ourselves to celebrate less-appreciated films such as “Brigadoon” (1954) or “Seven Brides for Seven Brothers” (1954).
