German occupation of said country in the 1930’s. The film is only vaguely interested in this historical keystone, as it acts more as a way to pump up the action in the final act than any sort of surrounding setting for the romance the film is centered on.
That’s a lot of stuff that has to happen before the end credits can finally roll and it happens over nearly three hours. Each act is drawn out with plenty of interpersonal relations, confrontations and new characters Said romance is between the popping up every once in a while. young and jovial apostle Maria (GET IT!?!) and the stern widower and naval This long running-time is officer Georg von Trapp. His particular especially insane when you think what pompous Britishness is so god damn a difficult time most musicals have with British he could only be this British if just keeping the audiences’ attention he was played by all-time great British for one and a half hour. That’s the actor Christopher Plummer, whom he problem with musicals really: When is played by, fittingly. Instead of the the focus is on big, majestic-looking before mentioned Nazi occupation, musical acts there isn’t much time the setting is that of the reclusive von for elaborate character development. Trapp mansion which Maria arrives Of course there is the occasional at as a governess for Georg’s seven musical that does manage to have children. From there, Maria has to some emotional weight – films such woo first the untoward kids, then the as Cabaret and All That Jazz – but harsh, un-humored Georg, and then these play out more as dramas that has a confrontation over von Trapp’s just happens to be about the danceheart with a rather cynical Baroness lifestyle. (never named, would you believe it). After all that there is still the part left The Sound of Music isn’t where evil Nazis do evil Nazi things like the latter category of musicals, such as wanting Georg to do his as it’s beautifully coordinated songdamn job (the nerve, I know) and him and-dance numbers can pop up angrily shaking his fists at said evil without much context, but it isn’t
The Sound of Music (1965), 20th Century Fox. Directed by Robert Wise. Rnh.com