Robert Wise’s 1965 film adaptation of Rodgers & Hammerstein’s The Sound of Music musical, has proven classic in the 60 years since its release; a holiday fixture, its relentless melodies rushing out from within on unremarkable days, importantly, its successful sale of a vision of free frolic upon snowy Alps.
Shot in Salzburg, the locale of the real-life von Trapp family singers, popular as performers before their escape from Nazi Austria prior to World War II; the film follows the postulant Maria who arrives from Nonnberg Abbey with music and joy, to serve as governess to the seven children of Captain von Trapp. Beyond the natural beauty and Old World charm of its setting, the film’s backdrop renders the story of change in a home previously steeped in dull, martial discipline with no scope for levity, a nuanced significance.
The militarised state of the von Trapp household under the Captain’s housekeeping is evidently a floundering system; his children squandering no opportunity to enact cruel pranks upon governesses hired to uphold their father’s exacting standard of discipline. In the absence of affection, this system of rules and punishment warps to become a means for the von Trapp children to seek attention insidiously, in another failing endeavour. What Maria carries into the estate is a sense of genuine humanity, a will and urge to connect with the children as she provides for their emotional needs. Her empathy renders the household and the film a homely quality that brings comfort and joy. The Sound of Music points to the void left in the absence of empathy and demonstrates the transformation that can be made upon its return; it is significant commentary on fascist regimes. Truly, the film is constructed as a mise en abyme — as the von Trapp household thaws its regimen in embrace of joy; outside, Austria enters Anschluss with Nazi Germany. Whilst the film, saccharine in its music and comedy, is less than overt in this regard, it does make for glory in a dual escape through the sweeping Bavarian Alps.
Perhaps its greatest success is in the film’s intense, eternal spirit of joy and freedom.
Illustration by Hal Purton @hop_sketch for The Student.