document_title: The Sound of Music (film)

question_text: where did the story of the sound of music take place

text: The Sound of Music (film)

text: Plot[edit]

text: Maria is a free-spirited young Austrian woman studying to become a nun at Nonnberg Abbey in Salzburg in 1938. Her love of music and the mountains, her youthful enthusiasm and imagination, and her lack of discipline cause some concern among the nuns. The Mother Abbess, believing Maria would be happier outside the abbey, sends her to the villa of retired naval officer Captain Georg von Trapp to be governess to his seven children—Liesl, Friedrich, Louisa, Kurt, Brigitta, Marta, and Gretl. The Captain has been raising his children alone using strict military discipline following the death of his wife. Although the children misbehave at first, Maria responds with kindness and patience, and soon the children come to trust and respect her. Liesl, the oldest, is won over after Maria protects her from discovery when she is nearly caught sneaking back into the house after meeting Rolfe, a delivery boy she is in love with.

text: While the Captain is away in Vienna, Maria makes play clothes for the children and takes them around Salzburg and the surrounding mountains, and she teaches them how to sing. When the Captain returns to the villa with Baroness Elsa Schraeder, a wealthy socialite, and their mutual friend, Max Detweiler, they are greeted by Maria and the children returning from a boat ride on the lake that concludes when their boat overturns. Displeased by his children's clothes and activities, and Maria's impassioned appeal that he get closer to his children, the Captain orders her to return to the abbey. Just then he hears singing coming from inside the house and is astonished to see his children singing for the Baroness. Filled with emotion, the Captain joins his children, singing for the first time in years. Afterwards, he apologizes to Maria and asks her to stay.

text: Impressed by the children's singing, Max proposes he enter them in the upcoming Salzburg Festival but the suggestion is immediately rejected by the Captain as he does not allow his children to sing in public. He does agree, however, to organize a grand party at the villa. The night of the party, while guests in formal attire waltz in the ballroom, Maria and the children look on from the garden terrace. When the Captain notices Maria teaching Kurt the traditional Ländler folk dance, he cuts in and dances with Maria in a graceful performance, culminating in a close embrace. Confused about her feelings, Maria blushes and breaks away. Later, the Baroness, who noticed the Captain's attraction to Maria, hides her jealousy while convincing Maria that she must return to the abbey. Back at the abbey, when Mother Abbess learns that Maria has stayed in seclusion to avoid her feelings for the Captain, she encourages her to return to the villa to look for her life. After Maria returns to the villa, she learns about the Captain's engagement to the Baroness and agrees to stay until they find a replacement governess. The Captain's feelings for Maria, however, have not changed, and after breaking off his engagement the Captain marries Maria.

text: While they are on their honeymoon, Max enters the children in the Salzburg Festival against their father's wishes. When they learn that Austria has been annexed by the Third Reich in the Anschluss, the couple return to their home, where a telegram awaits informing the Captain that he must report to the German Naval base at Bremerhaven to accept a commission in the German Navy. Strongly opposed to the Nazis and the Anschluss, the Captain tells his family they must leave Austria immediately. Many of the Von Trapp's friends are prepared to accept the new regime, including Rolfe, who Liesl is devastated to see has joined the Hitler youth. That night, as the von Trapp family attempt to leave, they are stopped by a group of Brownshirts waiting outside the villa. When questioned by Gauleiter Hans Zeller, the Captain maintains they are headed to the Salzburg Festival to perform. Zeller insists on escorting them to the festival, after which his men will accompany the Captain to Bremerhaven.

text: Later that night at the festival, during their final number, the von Trapp family slip away and seek shelter at the nearby abbey, where Mother Abbess hides them in the cemetery crypt. Brownshirts soon arrive and search the abbey, and the family is discovered by Rolfe. Upon seeing Liesl, he hesitates raising the alarm long enough to allow the family time to flee, and the family is able to escape using the caretaker's car. When the soldiers attempt to pursue, they discover their cars will not start as two nuns have removed parts of the engines. The next morning, after driving to the Swiss border, the von Trapp family make their way on foot across the frontier into Switzerland to safety and freedom.

text: Cast[edit]

text:
Julie Andrews as Maria von Trapp
Christopher Plummer as Captain von Trapp
Bill Lee as Captain von Trapp's singing voice
Eleanor Parker as Baroness Elsa von Schraeder
Richard Haydn as Max Detweiler
Peggy Wood as the Mother Abbess
Charmian Carr as Liesl von Trapp
Nicholas Hammond as Friedrich von Trapp
Heather Menzies as Louisa von Trapp
Duane Chase as Kurt von Trapp
Angela Cartwright as Brigitta von Trapp
Debbie Turner as Marta von Trapp
Kym Karath as Gretl von Trapp
Anna Lee as Sister Margaretta
Portia Nelson as Sister Berthe
Ben Wright as Herr Zeller
Daniel Truhitte as Rolfe
Norma Varden as Frau Schmidt
Gil Stuart as Franz
Marni Nixon as Sister Sophia
Ada Beth Lee as Sister Catherine
Doreen Tryden as Sister Agatha
Evadne Baker as Sister Bernice
Doris Lloyd as Baroness Ebberfeld

text: Background[edit]

text: The Sound of Music story is based on Maria von Trapp's memoir, The Story of the Trapp Family Singers, published in 1949 to help promote her family's singing group following the death of her husband Georg in 1947.[5] Hollywood producers expressed interest in purchasing the title only, but Maria refused, wanting her entire story to be told.[5] In 1956, German producer Wolfgang Liebeneiner purchased the film rights for $9,000 (equivalent to $81,000 in 2017), hired George Hurdalek and Herbert Reinecker to write the screenplay, and Franz Grothe to supervise the soundtrack, which consisted of traditional Austrian folk songs.[6] The Trapp Family was released in West Germany on October 9, 1956 and became a major success.[5] Two years later, Liebeneiner directed a sequel, The Trapp Family in America, and the two pictures became the most successful films in West Germany during the post-war years.[5] Their popularity extended throughout Europe and South America.[5]

text: In 1956, Paramount Pictures purchased the United States film rights, intending to produce an English-language version with Audrey Hepburn as Maria.[5] The studio eventually dropped its option, but one of its directors, Vincent J. Donehue, proposed the story as a stage musical for Mary Martin.[5] Producers Richard Halliday and Leland Heyward secured the rights and hired playwrights Howard Lindsay and Russel Crouse, who had won the Pulitzer Prize for State of the Union.[6] They approached Richard Rodgers and Oscar Hammerstein II to compose one song for the musical, but the composers felt the two styles—traditional Austrian folk songs and their composition—would not work together.[6] They offered to write a complete new score for the entire production if the producers were willing to wait while they completed work on Flower Drum Song.[7] The producers quickly responded that they would wait as long as necessary.[7] The Sound of Music stage musical opened on November 16, 1959 at the Lunt-Fontanne Theatre in New York City and ran on Broadway for 1,443 performances, winning six Tony Awards, including Best Musical.[8] In June 1960, Twentieth Century Fox purchased the film adaptation rights to the stage musical for $1.25 million (equivalent to $10,300,000 in 2017) against ten percent of the gross.[9][Note 1]

text: Production[edit]

text: For the film, Richard Rodgers added two new songs, "I Have Confidence" and "Something Good", for which he wrote the lyrics as well as the music (Hammerstein having died in August 1960), while three of the original stage songs were omitted,[10] "How Can Love Survive", "No Way To Stop It" and "An Ordinary Couple". Arranger and conductor Irwin Kostal prerecorded the songs with a large orchestra and singers on a stage prior to the start of filming, and later adapted instrumental underscore passages based on the songs. Choreographers Marc Breaux and Dee Dee Wood, who had worked with Andrews on Mary Poppins, worked out all new choreography sequences that incorporated many of the Salzburg locations and settings. The Sound of Music was filmed from March 26 through September 1, 1964, with external scenes shot on location in Salzburg, Austria, and the surrounding region, and interior scenes filmed at the 20th Century Fox studios in California. The movie was photographed in 70 mm Todd-AO by Ted McCord and produced with DeLuxe Color processing and six-track sound recording.

text: Screenplay and pre-production[edit]

text: In December 1962, 20th Century Fox president Richard D. Zanuck hired Ernest Lehman to write the screenplay for the film adaptation of the stage musical.[11] Lehman reviewed the original script for the stage musical, rearranged the sequence of songs, and began transforming a work designed for the stage into a film that could use the camera to emphasize action and mood, and open the story up to the beautiful locations of Salzburg and the Austrian Alps.[12] The "Do-Re-Mi" sequence in the play, for example, was originally a stagnant number; Lehman transformed it into a lively montage showing some of the beautiful sites of Salzburg, as well as showing Maria and the children growing closer over time.[12] Lehman also eliminated two songs, "How Can Love Survive?" and "No Way to Stop It", sung by the characters of Elsa and Max.[12] In January 1963, he saw the Fox English-dubbed version of the two German films, was not especially impressed, and decided to use the stage musical and Maria's memoir for most of his source material.[13] While Lehman was developing the screenplay, he and Zanuck began looking for a director. Their first choice was Robert Wise, with whom Lehman had worked on the film adaptation of West Side Story, but Wise was busy preparing work for another film, The Sand Pebbles.[14] Other directors were approached and turned down the offer, including Stanley Donen, Vincent J. Donehue, George Roy Hill, and Gene Kelly.[15]

text: In January 1963, Lehman invited one of his favorite directors, William Wyler, to travel to New York City with him to see the Broadway musical. After seeing the show, Wyler said he hated it, but after two weeks of Lehman's persuasion, Wyler reluctantly agreed to direct and produce the film.[16] After hiring musical supervisor Roger Edens, Wyler, Lehman, and Edens traveled to Salzburg to scout filming locations.[17] In two weeks they managed to see approximately seventy-five locations—an experience that helped Lehman conceptualize several important sequences.[18] During that trip, Lehman began to have reservations about Wyler's commitment to the project, and communicated this to Zanuck, who instructed the writer to finalize the first draft of the screenplay as quickly as possible.[19] Lehman completed the first draft on September 10, 1963 and sent it to Wyler, who had no suggestions or changes.[19] At that time, Lehman also secretly gave a copy of the script to the agent of Robert Wise, whom Lehman still wanted as the director.[19] Later that month, Wyler's agent approached Zanuck asking that production on the film be delayed so Wyler could direct The Collector. Zanuck told him to tell Wyler to make the other film, and that they would move ahead on schedule with another director, ending Wyler's participation.[19]

text: Meanwhile, Wise, whose film The Sand Pebbles had been postponed, read Lehman's first draft, was impressed by what he read, and agreed to direct the film.[20] Wise joined the picture in October 1963,[21] and flew to Salzburg with associate producer Saul Chaplin and members of his production team to scout filming locations, including many that Wyler had identified.[22] When he returned, Wise began working on the script. Wise shared Lehman's vision of the film being centered on the music, and the changes he made were consistent with the writer's approach—mainly reducing the amount of sweetness and sentimentality found in the stage musical.[21] He had reservations about Lehman's opening aerial sequence because they'd used a similar opening in West Side Story, but decided to keep it.[21] Other changes included replacing "An Ordinary Couple" with a more romantic number, and a new song for Maria's departure from the abbey—Rodgers provided "Something Good" and "I Have Confidence" especially for the film.[23] Lehman completed the second draft on December 20, 1963,[24] but additional changes would be made based on input from Maria von Trapp and Christopher Plummer about the character of the Captain. Plummer especially helped transform a character lacking substance into a stronger, more forceful complex figure with a wry sense of humor and a darker edge.[25] Lehman completed his final draft on March 20, 1964.[26]

text: Casting and rehearsals[edit]

text: Lehman's first and only choice for Maria was Julie Andrews.[27] When Wise joined the project, he made a list of his choices for the role, which included Andrews as his first choice, Grace Kelly, and Shirley Jones.[28] Wise and Lehman went to Disney Studios to view footage from Mary Poppins, which was not yet released. A few minutes into the film, Wise told Lehman, "Let's go sign this girl before somebody else sees this film and grabs her!"[27] Andrews had some reservations—mainly about the amount of sweetness in the theatrical version—but when she learned that her concerns were shared by Wise and Lehman and what their vision was, she signed a contract with Fox to star in The Sound of Music and one other film for $225,000 (equivalent to $1,780,000 in 2017).[29] Wise had a more difficult time casting the role of the Captain. A number of actors were considered for the part, including Bing Crosby, Yul Brynner, Sean Connery, and Richard Burton.[30] Wise had seen Christopher Plummer on Broadway and wanted him for the role, but the stage actor turned down the offer several times. Wise flew to London to meet with Plummer and explained his concept of the film; the actor accepted after being assured that he could work with Lehman to improve the character;[31] Plummer later described himself as having become quite arrogant at the time, "spoiled by too many great theater roles".[32]

text: Wise also spent considerable time and effort on casting the secondary characters. For the role of Max Detweiler, Wise initially considered Victor Borge, Noël Coward, and Hal Holbrook among others before deciding on Richard Haydn.[31] For the character of Baroness Elsa Schraeder, Wise looked for a "name" actress—Andrews and Plummer were not yet widely known to film audiences—and decided on Eleanor Parker.[33] The casting of the children characters began in November 1963 and involved over two hundred interviews and auditions throughout the United States and England.[34] Some of the child-actors interviewed or tested, who were not selected, included Mia Farrow, Patty Duke, Lesley Ann Warren, Geraldine Chaplin, Shelley Fabares, Teri Garr, Kurt Russell, and The Osmonds.[35] Most of the actors selected had some acting, singing, or dancing experience. Charmian Carr, however, was a model who worked part-time in a doctor's office and had no ambition to pursue a career as an actress.[36] After a friend sent her photo to Wise's office, she was asked to interview. Wise later recalled, "She was so pretty and had such poise and charm that we liked her immediately."[36] The last person to be cast was Daniel Truhitte in the role of Rolfe.[36]

text: Rehearsals for the singing and dance sequences began on February 10, 1964.[37] The husband-and-wife team of Marc Breaux and Dee Dee Wood, who had worked with Andrews on Mary Poppins, worked out the choreography with Saul Chaplin on piano—the arrangements could not be altered under Rodgers and Hammerstein's contract.[38] The stage choreography was not used because it was too restrictive.[39] Breaux and Wood worked out all new choreography better suited for film that incorporated many of the Salzburg locations and settings.[39] They even choreographed the newly added puppet dance sequence for "The Lonely Goatherd".[40] The choreography for the Ländler strictly followed the traditional Austrian folk dance.[39] The musical arranger Irwin Kostal prerecorded the songs with a large orchestra and singers on a stage prior to the start of filming.[41] In her book, The Sound of Music: The Making of America's Favorite Movie, Julia Antopol Hirsch says that Kostal used seven children and five adults to record the children's voices; the only scene where the child-actors actually sing is when they sing "The Sound of Music" on their own after Maria leaves.[42] Charmian Carr refuted the claim that the voices of the child actors were dubbed in the film and on the soundtrack. Carr contended that all of the children who are in the film sing on the track, but four other children were added to most of the songs to give them a fuller sound, they did not replace them as singers.[43] The voices of some of the adult actors had voice doubles, including Peggy Wood and Christopher Plummer.[44]

text: Filming and post-production[edit]

text: Principal photography began on March 26, 1964 at 20th Century Fox studios in Los Angeles, where scenes from Maria's bedroom and the abbey cloister and graveyard were filmed.[45] The company then flew to Salzburg where filming resumed on April 23 at Mondsee Abbey for the wedding scenes.[46] From April 25 through May 22, scenes were filmed at the Felsenreitschule, Nonnberg Abbey, Mirabell Palace Gardens, Residence Fountain, and various street locations throughout the Altstadt (Old Town) area of the city.[46] Wise faced opposition from city leaders who opposed him staging scenes with swastika banners. They relented after he threatened instead to include actual newsreel footage of crowds cheering Hitler during a visit to the town.[32] On days when it rained—a constant challenge for the company[47]—Wise arranged for scenes to be shot at St. Margarethen Chapel and Dürer Studios (Reverend Mother's office).[48] From May 23 to June 7, the company worked at Schloss Leopoldskron and an adjacent property called Bertelsmann for scenes representing the lakeside terrace and gardens of the von Trapp villa.[49] From June 9 to 19, scenes were shot at Frohnburg Palace which represented the front and back façades of the villa.[49] The "Do-Re-Mi" picnic scene in the mountains was filmed above the town of Werfen in the Salzach River valley on June 25 and 27.[49] The opening sequence of Maria on her mountain was filmed from June 28 to July 2 at Mehlweg mountain near the town of Marktschellenberg in Bavaria.[50][Note 2] The final scene of the von Trapp family escaping over the mountains was filmed on the Obersalzberg in the Bavarian Alps.[51]

text: The cast and crew flew back to Los Angeles and resumed filming at Fox studios on July 6 for all remaining scenes, including those in the villa dining room, ballroom, terrace, living room, and gazebo.[52] Following the last two scenes shot in the gazebo—for the songs "Something Good" and "You Are Sixteen"—principal photography concluded on September 1, 1964.[52] A total of eighty-three scenes were filmed in just over five months.[53] Post-production work began on August 25 with three weeks of dialogue dubbing to correct lines that were ruined by various street noises and rain.[54] In October, Christopher Plummer's singing voice was dubbed by veteran Disney playback singer Bill Lee.[55] The film was then edited by Wise and film editor William Reynolds.[56] Once the film was edited, Irwin Kostal, who orchestrated the musical numbers, underscored the film with background music consisting of variations on Rodgers and Hammerstein's original songs to amplify or add nuances to the visual images.[55][56] When dubbing, editing, and scoring were complete, Wise arranged for two sneak-preview showings—the first one held in Minneapolis on Friday January 15, 1965[57] at the Mann Theater, and the second one held the following night in Tulsa.[58] Despite the "sensational" responses from the preview audiences, Wise made a few final editing changes before completing the film.[58] According to the original print information for the film, the running time for the theatrical release version was 174 minutes.[1] The film was eventually given a G rating by the Motion Picture Association of America.[1]

text: The Sound of Music was filmed in 70 mm Todd-AO by Ted McCord and produced with DeLuxe Color processing.[59] Aerial footage was photographed with an MCS-70 camera.[59] The sound was recorded on 70 mm six-track using a Westrex recording system.[1][59] The sets used for the film were based on the storyboards of sketch artist Maurice Zuberano,[60] who accompanied Wise to Austria to scout filming locations in November 1963.[61] Wise met with the artist over a ten-week period and explained his objective for each scene—the feeling he wanted to convey and the visual images he wanted to use.[60] When Zuberano was finished, he provided Wise with a complete set of storyboards that illustrated each scene and set—storyboards the director used as guidance during filming.[60] Zuberano's storyboards and location photos were also used by art director Boris Leven to design and construct all of the original interior sets at Fox studios, as well as some external sets in Salzburg.[62] The von Trapp villa, for example, was actually filmed in several locations: the front and back façades of the villa were filmed at Frohnburg Palace, the lakeside terrace and gardens were a set constructed on a property adjacent to Schloss Leopoldskron called Bertelsmann, and the interior was a constructed set at Fox studios.[63] The gazebo scenes for "Something Good" and "Sixteen Going on Seventeen" were filmed on a larger reconstructed set at Fox studios, while some shots of the original gazebo were filmed on the grounds at Schloss Leopoldskron in Salzburg.[64][65][Note 3]

text: Release[edit]

text: Marketing[edit]

text: Robert Wise hired Mike Kaplan to direct the publicity campaign for the film.[66] After reading the script, Kaplan decided on the ad line "The Happiest Sound in All the World", which would appear on promotional material and artwork.[66] Kaplan also brought in outside agencies to work with the studio's advertising department to develop the promotional artwork, eventually selecting a painting by Howard Terpning of Andrews on an alpine meadow with her carpetbag and guitar case in hand with the children and Plummer in the background.[67][68][Note 4] In February 1964, Kaplan began placing ads in the trade papers Daily Variety, Weekly Variety, and The Hollywood Reporter to attract future exhibitor interest in the project.[66] The studio intended the film to have an initial roadshow theatrical release in select large cities in theaters that could accommodate the 70-mm screenings and six-track stereophonic sound.[69] The roadshow concept involved two showings a day with reserved seating and an intermission similar to Broadway musicals.[69] Kaplan identified forty key cities that would likely be included in the roadshow release and developed a promotional strategy targeting the major newspapers of those cities.[67] During the Salzburg production phase, 20th Century Fox organized press junkets for America journalists to interview Wise and his team and the cast members.[67]

text: Critical response[edit]

text:
"No one is comfortable with an excess of hearts and flowers, but there is no valid reason for hiding honest emotion. This has always been a major element in the theatre, and it's my conviction that anyone who can't, on occasion, be sentimental about children, home or nature is sadly maladjusted."[70]

Richard Rodgers

text: The film had its opening premiere on March 2, 1965 at the Rivoli Theater in New York City.[71][72] Initial reviews were mixed.[73] Bosley Crowther, in The New York Times, criticized the film's "romantic nonsense and sentiment", the children's "artificial roles", and Robert Wise's "cosy-cum-corny" direction.[74] Judith Crist, in a biting review in the New York Herald Tribune, dismissed the movie as "icky sticky" and designed for "the five to seven set and their mommies".[71] In her review for McCall's magazine, Pauline Kael called the film "the sugar-coated lie people seem to want to eat", and that audiences have "turned into emotional and aesthetic imbeciles when we hear ourselves humming the sickly, goody-goody songs".[75] [Note 5] Wise later recalled, "The East Coast, intellectual papers and magazines destroyed us, but the local papers and the trades gave us great reviews".[69] Indeed, reviewers such as Philip K. Scheuer of the Los Angeles Times described the film as "three hours of visual and vocal brilliance",[69] and Variety called it "a warmly-pulsating, captivating drama set to the most imaginative use of the lilting R-H tunes, magnificently mounted and with a brilliant cast".[69] The "wildly mixed film reviews" reflected the critical response to the stage musical, according to The Oxford Companion to the American Musical.[77] After its Los Angeles premiere on March 10, The Sound of Music opened in 131 theaters in the United States, including a limited number of roadshow events.[69] After four weeks, the film became the number one box office movie in the country, and held that position for thirty out of the next forty-three weeks in 1965.[78] The original theatrical release of the film in America lasted four and a half years.[78]

text: A few months after its United States release, The Sound of Music opened in 261 theaters overseas—the first American movie to be completely dubbed in a foreign language, both dialogue and music.[79] The German, French, Italian, and Spanish versions were completely dubbed, the Japanese version had Japanese dialogue with English songs, and other versions were released with foreign subtitles. The film was a popular success in every country it opened, except the two countries where the story originated, Austria and Germany.[80] In these countries, 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)—both films still widely popular in German-speaking Europe and considered the authoritative von Trapp story.[80] Austrians took exception to the liberties taken by the filmmakers with regard to the costumes, which did not reflect traditional style, and the replacement of traditional Austrian folk songs with Broadway show tunes.[80] The film's Nazi theme was especially unpopular in Germany, where the Munich branch manager for 20th Century Fox approved the unauthorized cutting of the entire third act of the film following the wedding sequence—the scenes showing Salzburg following the Anschluss. Robert Wise and the studio intervened, the original film was restored, and the branch manager was fired.[81]

text: Box office[edit]

text: The Sound of Music is one of the most commercially successful films of all time.[82] Four weeks after its theatrical release, it became the number one box office movie in the United States, from revenue generated by twenty-five theaters, each screening only ten roadshow performances per week.[78] It held the number one position for thirty of the next forty-three weeks,[78] and ended up the highest-grossing film of 1965.[83] One contributing factor in the film's early commercial success was the repeat business of many filmgoers.[79] In some cities in the United States, the number of tickets sold exceeded the total population.[79][Note 6] By January 1966, the film had earned $20 million in distributor rentals from just 140 roadshow engagements in the United States and Canada.[84] Overseas, The Sound of Music broke previous box-office records in twenty-nine countries,[85] including the United Kingdom, where the film earned £4 million in rentals and grossed £6 million—more than twice as much as any other film had ever taken in.[85] It was also a major success in Holland, Hong Kong and Tokyo, where it played for as long as two years at some theaters. It was not a universal success, however, with the film only enjoying modest success in France and it was a flop in Germany. It also initially performed poorly in Italy, but a re-release after the Oscars brought better results.[86] By November 1966, The Sound of Music had become the highest-grossing film of all-time,[85] surpassing Gone with the Wind, which held that distinction for twenty-four years.[87][Note 7]

text: In November 1969, The Sound of Music completed its initial four-and-a-half year theatrical release run in the United States, having earned $68,313,000 in North American (United States and Canada) rentals and $44,168,000 in foreign rentals, for a worldwide total of $112,481,000 in gross returns.[86] It was the first film to gross over $100 million.[88] The film was re-released in 1973,[89][90] and increased its North American rentals to $78.4 million.[91] By the end of the 1970s, it was ranked seventh in all time North American rentals, having earned $79 million.[92] The film's re-release in 1990[90] increased the total North American admissions to 142,415,400—the third highest number of tickets sold behind Gone with the Wind and Star Wars—and about 283.3 million admissions worldwide.[93][94] The Sound of Music eventually earned a total domestic gross of $163,214,076, and a total worldwide gross of $286,214,076.[95] Adjusted for inflation, the film earned about $2.366 billion at 2014 prices—the fifth highest-grossing film of all time.[93][96]

text: Historical accuracy[edit]

text: The Sound of Music film, like the stage musical, presents a history of the von Trapp family that is not completely accurate. The filmmakers used artistic license to convey the essence and meaning of their story. Georg Ludwig von Trapp was indeed an anti-Nazi opposed to the Anschluss, and lived with his family in a villa in a district of Salzburg called Aigen. Their lifestyle depicted in the film, however, greatly exaggerated their standard of living. The actual family villa, located at Traunstraße 34, Aigen 5026, was large and comfortable but not nearly as grand as the mansion depicted in the film. The house was also not their ancestral home, as 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 following World War I. Georg moved the family to the Salzburg villa shortly after the death of his first wife in 1922.[97] In the film, Georg is referred to as "Baron", but his actual family title was "Ritter" (German for "knight"), a hereditary knighthood the equivalent of which in the United Kingdom is a baronetcy. Austrian nobility, moreover, was legally abolished in 1919 and the nobiliary particle von was proscribed after World War I, so he was legally "Georg Trapp". Both the title and the prepositional nobiliary particle von, however, continued to be widely used unofficially as a matter of courtesy.[97]

text: Georg was offered a position in the Kriegsmarine, but this occurred before the Anschluss. He was heavily recruited by the Nazis because he had extensive experience with submarines, and Germany was looking to expand its fleet of U-boats. With his family in desperate financial straits, and having no other marketable skills other than his training as a naval officer, he seriously considered the offer before deciding he could not serve a Nazi regime. Rather than threaten arrest, the Nazis actually continued to woo him.[97] In the film, Georg is depicted initially as a humorless, 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, whom she described as moody and prone to outbursts of rage. In a 2003 interview, Maria remembered, "[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."[98]

text: Maria Augusta Kutschera had indeed been a novice at Nonnberg Abbey 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.[97] Maria and Georg married for practical reasons, rather than love and affection for each other. Georg needed a mother for his children, and Maria needed the security of a husband and family once she decided to leave the abbey. "I really and truly was not in love," Maria wrote in her memoir, "I liked him but didn't love him. However, I loved the children, so in a way I really married the children." They were married in 1927, not in 1938 as depicted in the film, and 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. Maria later acknowledged that she grew to love Georg over time and enjoyed a happy marriage.[97]

text: The von Trapp family lost most of its wealth during the worldwide depression of the early 1930s, when the Austrian national bank folded.[97] In order to survive, the family dismissed the servants and began taking in boarders. They also started singing onstage to earn money—a fact that caused the proud Georg much embarrassment.[99] In the film, the von Trapp family hike over the Alps from Austria to Switzerland to escape the Nazis, which would not have been possible; Salzburg is over two hundred miles from Switzerland. The von Trapp villa, however, was only a few kilometers from the Austria–Germany border, and the final scene shows the family hiking on the Obersalzberg near the German town of Berchtesgaden, within sight of Adolf Hitler's Kehlsteinhaus Eagle's Nest retreat. In reality, the family simply walked to the local train station and boarded a train to Italy. Although Georg was an ethnic German-Austrian, he was also an Italian citizen, having been born in the Dalmatian city of Zadar, which at that time was part of the Austro-Hungarian Empire, and later fell into Italian territory after World War I. From Italy, they traveled to London and ultimately the United States.[97]

text: The character Max Detweiler, the scheming family music director, is fictional. The von Trapps' family priest, the Reverend Franz Wasner, was their musical director for over twenty years and accompanied them when they left Austria.[97] The character of 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.[97] The von Trapp family had no control over how they were depicted in the film and stage musical, having given up the rights to their story to a German producer in the 1950s who then sold the rights to American producers.[97] Robert Wise met with Maria von Trapp and made it clear, according to a memo to Richard Zanuck, that he was not making a "documentary or realistic movie" about her family, and that he would make the film with "complete dramatic freedom" in order to produce a "fine and moving film"—one they could all be proud of.[100]

text: Soundtrack[edit]

text: The soundtrack to The Sound of Music was written by Richard Rodgers and Oscar Hammerstein II, and arranged and conducted by Irwin Kostal, who also adapted the instrumental underscore passages.[citation needed] The soundtrack album was released by RCA Victor in 1965 and is one of the most successful soundtrack albums in history, having sold over 20 million copies worldwide.[101][102]

text: The album reached the number one position on the Billboard 200 that year in the United States.[103][104] It remained in the top ten  for 109 weeks, from May 1, 1965 to July 16, 1966,[105][106] and remained on the Billboard 200 chart for 238 weeks.[103] The album was the best-selling album in the United Kingdom in 1965, 1966 and 1968 and the second best-selling of the entire decade, spending a total of 70 weeks at number one on the UK Albums Chart.[107] It also stayed 73 weeks on the Norwegian charts, becoming the seventh best-charting album of all time in that country.[108] In 2015, Billboard named the album the second greatest album of all time.[109][110]

text: The album has been reissued several times, including anniversary editions with additional tracks in 1995, 2000, 2005, 2010 and 2015.[104]

text: Accolades[edit]

text: Awards and nominations[edit]

text:
Award

Category

Nominee

Result

Ref

Academy Awards

Best Picture

Robert Wise

Won

[111]

Best Director

Robert Wise

Won

[111]

Best Actress in a Leading Role

Julie Andrews

Nominated

[111]

Best Actress in a Supporting Role

Peggy Wood

Nominated

[111]

Best Music (Scoring of Music – Adaptation or Treatment)

Irwin Kostal

Won

[111]

Best Cinematography (Color)

Ted D. McCord

Nominated

[111]

Best Art Direction (Color)

Boris Leven (art direction);Walter M. Scott and Ruby R. Levitt (set decoration)

Nominated

[111]

Best Costume Design (Color)

Dorothy Jeakins

Nominated

[111]

Best Sound Recording

James Corcoran and Fred Hynes

Won

[111]

Best Film Editing

William H. Reynolds

Won

[111]

BAFTA Awards

Best British Actress

Julie Andrews

Nominated

[112]

Directors Guild of America

Outstanding Directorial Achievement in Motion Pictures

Robert Wise

Won

[113]

Golden Globe Awards

Best Motion Picture – Musical or Comedy

Robert Wise

Won

[113]

Best Director – Motion Picture

Robert Wise

Nominated

[113]

Best Motion Picture Actress – Musical or Comedy

Julie Andrews

Won

[113]

Best Supporting Actress – Motion Picture

Peggy Wood

Nominated

[113]

Laurel Awards

General Entertainment

The Sound of Music

Won

[114]

Musical Performance – Female

Julie Andrews

Won

[114]

National Board of Review

Top Ten Films of 1965

The Sound of Music

Won

[113]

New York Film Critics Circle

Best Actress

Julie Andrews

2nd place

[114]

Writers Guild of America

Best Written American Musical

Ernest Lehman

Won

[114]

tag: table

text: AFI recognition[edit]

text: The Sound of Music has been included in numerous top film lists from the American Film Institute.

text:
AFI's 100 Years...100 Movies – No. 55[115]
AFI's 100 Years...100 Movies (10th Anniversary Edition) – No. 40[116]
AFI's 100 Years...100 Cheers – No. 41[117]
AFI's 100 Years of Musicals – No. 4[118]
AFI's 100 Years...100 Passions – No. 27[119]
AFI's 100 Years...100 Songs:
"The Sound of Music" – No. 10[120]
"My Favorite Things" – No. 64[120]
"Do-Re-Mi" – No. 88[120]

text: Legacy[edit]

text: In 1966, American Express created the first Sound of Music guided tour in Salzburg.[121] Since 1972, Panorama Tours has been the leading Sound of Music bus tour company in the city, taking approximately 50,000 tourists a year to various film locations in Salzburg and the surrounding region.[121] Sing-along Sound of Music revival screenings began in London in 1999, leading to a successful run at the Prince Charles Cinema which is ongoing as of 2016.[107][122] During the screenings, audience members are often dressed as nuns and von Trapp children and are encouraged to sing along to lyrics superimposed on the screen.[122] In July 2000, Sing-along Sound of Music shows opened in Boston and Austin, Texas.[122] Some audience members dressed up as cast members and interacted with the action shown on the screen.[122] The film began a successful run at the Ziegfeld Theatre in New York City in September 2000, with the opening attended by cast members Charmian Carr (Liesl), Daniel Truhitte (Rolfe), and Kym Karath (Gretl).[123] Sing-along Sound of Music screenings have since become an international phenomenon.[124]

text: In 2001, the United States Library of Congress selected the film for preservation in the National Film Registry, finding it "culturally, historically, or aesthetically significant".[82] The Academy Film Archive preserved The Sound of Music in 2003.[125]

text: Television and home media[edit]

text: The first American television transmission of The Sound of Music was on February 29, 1976 on ABC, which paid $15 million for a one-time only broadcast that became one of the top-rated films ever shown on television to that point.[126] The movie was not shown again until NBC acquired the broadcast rights and telecast the film on February 11, 1979.[127] NBC continued to air the film annually for twenty years.[126] 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 thirty minutes edited out of the original film included portions of the "Morning Hymn and Alleluia" sung by the nuns, part of the dialogue between Mother Abbess and Maria in the abbey, part of Liesl and Rolfe'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 minor dialogue cuts within existing scenes.

text: The film aired in its uncut form (minus the entr'acte) on April 9, 1995, on NBC. 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 television ratings, NBC let their contract lapse in 2001. That year, the film was broadcast one time on the Fox network, in its heavily edited 140-minute version. Since 2002, the film has aired on ABC, generally during Christmas week, and has been broadcast on its sister cable network, Freeform, periodically around Easter and other holidays. Most of its more recent runs have been the full version in a four-hour time slot, complete with the entr'acte. ABC first broadcast a high definition version on December 28, 2008. On December 22, 2013, the annual broadcast had its highest ratings since 2007; the increase in ratings were credited to NBC's broadcast of The Sound of Music Live!—a live television adaptation of the original musical which aired earlier that month.[128]

text: In the United Kingdom, the film was first aired on BBC One on 25 December 1978 and, as of December 2016, fifteen times since, mostly around Christmas time. As the BBC channels in Britain are not funded by advertising there was no need to cut scenes to fit within a timeslot and the film was screened in the full 174-minute version without breaks.[129]

text: The film has been released on VHS, LaserDisc, and DVD numerous times. The first DVD version was released on August 29, 2000 to commemorate the 35th anniversary of the film's release.[130] The film is often included in box sets with other Rodgers & Hammerstein film adaptations.[130] A 40th anniversary DVD, with "making of" documentaries and special features, was released on November 15, 2005.[130] The film made its debut issue on Blu-ray Disc on November 2, 2010, for its 45th anniversary.[130][131][132] For the Blu-ray release, the original 70 mm 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. On March 10, 2015, Fox Home Entertainment released The Sound of Music 50th Anniversary Ultimate Collector's Edition—a five-disc set featuring thirteen hours of bonus features, including a new documentary, The Sound of a City: Julie Andrews Returns to Salzburg.[130][133] A March 2015 episode of ABC's 20/20 entitled The Untold Story of the Sound of Music featured a preview of the documentary and interviews by Diane Sawyer.[134]

text: Notes[edit]

text:
Jump up ^ Twentieth Century Fox also purchased the rights to the two German films for distribution in the United States. Fox combined the two films, Die Trapp-Familie and Die Trapp-Familie in Amerika, dubbed them in English, and released them as a single 106-minute film titled The Trapp Family, which was released on April 19, 1961.[9]

Jump up ^ Maria's morning run back to Nonnberg Abbey would have been about 11 miles (18 km).

Jump up ^ At the conclusion of filming at Schloss Leopoldskron, 20th Century Fox left behind the original gazebo as a gift to the city. The film's later popularity, however, led many fans to trespass onto the private and secluded lakefront property. To provide fans easier access to the famous structure, the city moved it to its present location at Hellbrunn Palace Park.[64]

Jump up ^ Terpning also created the poster artwork for Lawrence of Arabia, Doctor Zhivago, The Sand Pebbles, The Guns of Navarone, and the 1967 theatrical re-release of Gone with the Wind.[68] He is also known for his numerous magazine covers and his paintings of the American West and the Plains Indians.[68]

Jump up ^ Pauline Kael's review for McCall's generated a significant negative response from readers and contributed to her dismissal from the magazine.[75][76]

Jump up ^ In Salt Lake City, Utah  (population 199,300), for example, 309,000 tickets were sold in forty weeks.[79] In Albany, New York (population 156,000), 176,536 tickets were sold in twenty-seven weeks.[79] In Orlando, Florida (population 88,135), 105,181 tickets were sold in thirty-five weeks.[79]

Jump up ^ The Sound of Music remained the highest-grossing film of all time for five years until 1971, when Gone with the Wind recaptured the crown following its successful 1967 widescreen rerelease.


document_title: Gun laws in Wisconsin

question_text: how old do you have to be to own a pistol in wisconsin

root

text: Gun laws in Wisconsin

text: Summary table[edit]

text:
Subject/Law
Long guns
Handguns
Relevant Statutes
Notes

Constitutional right to bear arms
Yes
1:25
"The people have the right to keep and bear arms for security, defense, hunting, recreation or any other lawful purpose."

State preemption of local restrictions?
Yes
66.0409

State permit to purchase?
No
No
175.35

Concealed carry license required?
No
Yes
175.60
Permit is given on a shall-issue basis. Concealed carry of knives (not intended for use as weapons) is legal without a permit.
Campus carry is allowed, but buildings may be exempted if signs forbidding firearms are posted.

Owner license required?
No
No
941.29

Open carry permitted?
Yes
Yes
947.01 66.0409
Open carry of loaded handguns and long guns and knives is permitted without a license.

Castle Doctrine/Self Defense Statutes
Yes
895.62
Immunity from prosecution and civil damages in the home, with conditions and exceptions

939.48
No duty to retreat in the "dwelling" or owned/operated place of business. No deadly force solely to protect property. 3rd party protection. If attack is provoked, self defense may only be used if reasonable belief of imminent death or great bodily harm. If attack is provoked deadly force only allowed if all other reasonable means of avoidance exhausted.

940.01
"the state must prove beyond a reasonable doubt that the facts constituting the defense did not exist in order to sustain a finding of guilt"

Firearm registration?
No
No

Assault weapon law?
No
No

Magazine capacity restrictions?
No
No

NFA weapons restricted?
No
No
941.298
941.26

Machine guns allowed, but may not shoot pistol cartridges and may not be possessed aggressively or offensively. Suppressors, SBR, and SBS are allowed if NFA rules followed, otherwise felony.

Background checks required for private sales?
No

text: Constitutional protection[edit]

text: The Constitution of Wisconsin protects the right to bear arms in Article 1, Section 25 - "The people have the right to keep and bear arms for security, defense, hunting, recreation or any other lawful purpose."[1]

tag: p

text: Preemption[edit]

text: Wisconsin has state preemption laws which generally forbid cities from passing firearms or knife ordinances stricter than that of state law. Localities may impose a sales or use tax, and may restrict the discharge of firearms (except for self-defense).[2]

text: On March 8, 2017, the Wisconsin Supreme Court ruled that Madison's Metro Transit rule forbidding firearms on public buses violated the state's preemption law, and that people who are lawfully carrying arms must be allowed to carry on public buses.[3][4]

text: Concealed carry[edit]

text: Wisconsin is a shall-issue state for concealed carry licensing. As of November 1, 2011, Wisconsin residents may apply for a concealed carry license through the Wisconsin Department of Justice. The law allows Wisconsin to become the 49th state in the Union to make some provision for the concealed carry of firearms by normal citizens.[5][6][7]

text: Open carry[edit]

text: Open carry is legal anywhere concealed carry is legal. It is legal for all adults who are 18 years of age or older unless they are prohibited from possession of firearms. A license is not required unless in a taxpayer-owned building or within 1000 feet of school property and not on private property.[8]

text: In the past, some jurisdictions have tried to prosecute open-carry by equating the open carry of handguns with disorderly conduct. On April 20, 2009 the Wisconsin Attorney General's office released a memorandum to all law enforcement agencies stating that mere open carry of a firearm was not disorderly conduct, and instructed both law enforcement and the district attorneys to cease this practice.

text: In 2011 a subsection was added to the Disorderly Conduct statute (947.01 [9]) reading "Unless other facts and circumstances that indicate a criminal or malicious intent on the part of the person apply, a person is not in violation of, and may not be charged with a violation of, this section for loading, carrying, or going armed with a firearm, without regard to whether the firearm is loaded or is concealed or openly carried." This codified open carry, ending any debate as to its legality.

text: Loading, or having a loaded, uncased handgun inside a vehicle was legalized beginning November 1, 2011.[10] The firearm must not be "hidden from ordinary observation" while inside the vehicle unless the citizen has a license.[11]

text: Castle Doctrine[edit]

text: On December 7, 2011 Governor Walker signed a bill passing a Castle Doctrine for Wisconsin. The bill provides criminal immunity (WI statute 939.48(1m)[12]) and protection from civil suits (WI statute 895.62 [13]) for homeowners or business owners who use a gun in self-defense while on their property, with the presumption that any action is justified. The law is a "stand your ground" law, which does not contain a duty to retreat. This applies at the user's private vehicle, business, and at their home. Protection extends to improvements only (driveway, sidewalk, patio, fence, garage, house...), not bare ground. Also, the criminal must have forcibly entered, or be in the process of attempting to forcibly enter, and the defender must be present in the home, car, or business. The Washington County DA ruled that opening a door counts as forcible entry.[14]

text: The law does not apply if force is used against police while in the line of duty if the shooter knows or should have known that the victim was a police officer or other public safety worker.(WI statute 895.62(4)(b)[12]) The law also does not protect those who are engaged in criminal activity. (WI statute 939.48(1m)(b)(1)[12])

text: No duty to inform[edit]

text: Wisconsin is not a "must notify" state. If an officer is "acting in an official capacity and with lawful authority", and the citizen is doing something which requires a license (carrying concealed, or carrying in one of the protected areas), the citizen must show both a carry license and a driver's license upon demand.

text: WI statute 175.60(2g)(c)[15]

text: Guns in vehicles[edit]

text: Beginning November 1, 2011, it is legal to load a handgun, or to transport a loaded handgun cased or uncased, in a vehicle without a license. NOTE: This does NOT apply to long guns; they still must be unloaded, but now may be uncased. There is still some confusion as to whether or not an encased gun is concealed, so if it is cased, best practice is to keep the long gun out of reach. Long guns must be "discernable to ordinary observation", since a conceal carry license does not apply. Previously all firearms had to be unloaded & encased (per the transport statute), & out of reach (derived from the concealed carry statute). Those with a concealed carry license may conceal a pistol in a vehicle.

text: WI statute 167.31[16]

text: Boats[edit]

text: Pistols may be carried openly without a license, and concealed. Long guns must be unloaded while the motor is running; they are not required to be encased, but must be in plain sight.

text: Aircraft[edit]

text: Firearms are prohibited on commercial aircraft except in checked baggage. A discussion of federal laws is in this [17] blog post, with links to and quotes from the statutes.

text: Carry is legal on a private aircraft. With a license a user may carry openly or concealed. Without a license, only open carry is legal.

text: Exceptions[edit]

text: Anyone on their own property, on-duty law enforcement officers, military personnel on active duty, landowners and their family and employees on farm tractors inside CWD eradication zones, and disabled hunters with special permits meeting all the requirements.

text: Buying and selling[edit]

text: Private sales are legal. No background check or governmental permission / registration are necessary. A sales receipt is recommended in case the buyer needs to prove ownership (as when retrieving firearms which have been confiscated by police).

text: As of July 24, 2015, there is no longer a 48-hour waiting period on handgun purchases from an FFL (does not apply to private sales).

text: WI statute 175.35 [18]

text: Rifles and shotguns can be purchased in another state as long as the purchase complies with Federal law and the laws of both states. There is no longer a requirement that the other state be contiguous.[19]

text: WI statute 175.30 [20]

text: Title II firearms[edit]

text: Machine guns (fully automatic firearms) are legal if the firearm is registered with the Bureau of Alcohol, Tobacco, Firearms & Explosives (BATFE), and the owner has received permission from the local sheriff or chief of police (941.26), or the weapon is exempted per statute 941.27.

text: Short-barrel rifles and shotguns are legal if they are registered with ATF, state statute 941.28

text: Suppressors are legal if they are registered with ATF, statute 941.298

text: State parks, fish hatcheries, and wildlife refuges[edit]

text: Statute 29.091[21] and 29.089[22] used to require firearms to be encased and unloaded in state wildlife refuges and fish hatcheries. Those who have a concealed carry permit were not subject to these restrictions on handguns.

text: As of January 2013, anyone who is legal to possess a firearm may openly carry a pistol in a state park without a license. (The law used to say that to possess in a state park, one must be a licensee. That law was removed.) The restriction still applies to fish hatcheries & long guns, and in order to enter a taxpayer-owned building anywhere (including a park) one must be a licensee.

text: Other laws[edit]

text: Possession of a firearm while intoxicated, or "materially impaired", shooting within 100 yards of a home without permission, pointing a weapon at anyone except in self-defense, and negligent handling of a weapon are all crimes.[23]

text: Carrying a concealed weapon without a valid license is a class A misdemeanor. This is any "weapon", not just firearms. This restriction does not apply in one's own home or business. A concealed carry license only covers handguns, tasers, billy clubs, and knives.

text: WI statute 941.23[7]

text: Carrying a handgun without a concealed carry license where alcohol is sold AND consumed (the class B establishment - a "tavern", a place which sells alcohol for on-premises consumption) is generally a class A misdemeanor unless you have permission from the owner, manager, or agent of the establishment.

text: Exceptions are having a license, and that the owner or manager of can give permission for someone (without a license) to carry openly. When carrying (openly or concealed) on a license, alcohol may not be consumed on the premises. When carrying openly with permission of the owner or manager, it is legal to consume alcohol as long as you do not become "materially impaired". It is legal to carry a handgun into a store that sells alcohol for the express purpose of being consumed elsewhere (a liquor or grocery store).

text: WI statute 941.237[24]

text: Armor-piercing ammunition when committing a crime upgrades the crime to a Class H felony.

text: WI statute 941.296 [25]

text: "No person may carry or display a facsimile firearm in a manner that could reasonably be expected to alarm, intimidate, threaten or terrify another person", unless on your own property or business, or that of another person with their consent.

text: WI statute 941.2965 [26]

text: Committing a crime while possessing a dangerous weapon is a penalty enhancer.

text: WI statute 939.63 [27]

text: It is a felony to possess a firearm or ammunition if one:

text:
Has been convicted of a felony
Adjudicated delinquent for an act committed on or after April 21, 1994, that if committed by an adult would be a felony
Has been found not guilty of a felony by reason of mental disease or defect
Has been committed under mental health laws and ordered not to possess a firearm
Is the subject of a restraining order
Is ordered not to possess firearms as a subject of a restraining order or as a condition of bond or parole

tag: ul

text: Any person who knowingly provides a firearm to a prohibited person is party to a felony crime.[28]

text: It is a class I felony to possess a firearm on school grounds.[29]

text: This statute does not apply to:

text:
unloaded and encased firearms
individuals with firearms for use in a school-approved program
individuals with school contract to possess firearm
on-duty law enforcement acting in official capacity
off-duty officers or retired law enforcement who maintain their certification per Federal Law HR218.
unloaded firearms when traversing school grounds to gain access to hunting land, if the entry is approved by the school.

text: It is a forfeiture (fine) to possess a usable firearm on public property within 1000 feet of a school unless the carrier is a licensee. (If the gun is unloaded & encased, it is not a crime.) Wisconsin only issues resident licenses, and the ATF has interpreted federal law to mean that only licenses issued by the state in which the school is located are sufficient to void the "gun-free" school zone.

text: It is a class G felony to discharge or attempt to discharge a firearm in a school zone. Exceptions for self-defense, private property not part of school grounds, school programs, and on-duty law enforcement.[30]

text: Firearms and minors[edit]

text: Leaving a firearm within reach of a child under 14 is generally a misdemeanor if that child points it at anyone, harms anyone, or shows it to anyone in a public place. Defenses include having the gun locked in a safe or container, having it holstered on their person, having a trigger lock on the gun, removal of a key operating part, illegal entry by anyone to obtain the firearm, or a reasonable belief a juvenile could not access the firearm.

text: WI statute 948.55[31]

text: Firearms retailers are required to provide every buyer with a written warning stating, "If you leave a loaded firearm within the reach or easy access of a child, you may be fined or imprisoned or both if the child improperly discharges, possesses or exhibits the firearm."

text: WI statute 175.37[32]

text: Possession of a dangerous weapon by anyone under 18 is a class A misdemeanor. Giving/loaning/selling a dangerous weapon to someone under 18 is a class I felony.

text: WI statute 948.60[33]

text: Defenses to prosecution under this statute:

text:
Target practice under the supervision of an adult
Members of armed forces or police under 18 in the line of duty
Hunting (either with an adult or having passed hunter's safety)

text: For hunting purposes, the following exceptions to the age limit apply, as specified in statute 29.304[34] for firearms with barrels 12" or longer.

text:
under 10 may not hunt with a firearm or bow under any circumstances
under 10 can only possess firearm/bow in Hunter Safety class, or while cased/unloaded and under adult supervision while going to/from Hunter Safety class, or while under adult supervision while at a target range.
anyone age 10 or over may hunt when accompanied by an adult (within arms reach, both must be licensed, only _one_ firearm/bow between the adult and mentor (no hunter safety course requirement for the mentored hunter).
12-13 may hunt when accompanied by an adult and the child has successfully completed a Hunter Safety class.
12-13 may possess firearm when accompanied by an adult, or while transporting cased/unloaded firearm to/from Hunter Safety class, or in Hunter Safety class
14-17 is the same as 12-13, except Hunter Safety graduates can hunt and possess firearms (rifles/shotguns) without adult supervision.

text: School students shall be suspended until their expulsion hearing if they possess a firearm in school or during a school event (except if the student is participating in a Hunter Safety class). State law requires a minimum one-year expulsion for this offense. Statute 120.13(1)(bm)[35] and 120.13(1)(c)2m. In addition, the student's driver's license may be suspended for two years under Statute 938.34(14q).[36] This suspension also applies to students who make bomb threats or having CCW violations in taxpayer-owned buildings.

text: School zones[edit]

text: “School” means a public, parochial or private school which provides an educational program for one or more grades between grades 1 and 12 and which is commonly known as an elementary school, middle school, junior high school, senior high school or high school.

text: “School zone” means any of the following: 1. In or on the grounds of a school. 2. Within 1000' from the grounds of a school.

text: WI statute 948.605(1)(c)[37]

text: Any individual who knowingly possesses a firearm at a place that the individual knows, or has reasonable cause to believe, is in or on the grounds of a school is guilty of a Class I felony unless one of the exemptions applies.

text: WI statute 948.605(2)(a)[38]

text: Possession in the 1000' zone is a forfeiture (ticket), unless an exception applies. The most common of those are: private property, licensee, unloaded & encased.

text: WI statute 948.605(2)(b)[39] references 18USC922(q)(2)(b) (i), (iv), (v), (vi), & (vii).[40]

text: Additional Wisconsin laws table[edit]

text:
Subject

Long gun

Handgun

Reference

Remarks

Permit required to purchase a firearm?
No
No

Permit required to open carry?
No
No
175.60(2)(c)

Permit required to conceal carry?

Yes
175.60(2g)(a)

Are permits issued to non-residents?

No
175.60(3)(f)
No, BUT active duty military assigned within WI may apply with their assignment orders

What is the permit cost?

$40 - Adjusted periodically by WI Dept of Justice rule

How long is permit processing time?

175.60(9)(b)
Within 21 Days

How many years is the permit valid?

175.60(15)(a)
5 years

Firearm registration required?
No
No
175.35(2k)(ar)2.
If the transfer is cleared by the WI DOJ the department shall destroy all records regarding that firearms restrictions record search within 30 days after receiving the notification form.

State requirement to issue permit

Yes
175.60(2)(a)
Shall issue

Castle Doctrine?
Yes
Yes
939.48(1m)(ar)1
No requirement to retreat in home of place of residence, business or vehicle.

Stand Your Ground law?
No
No

WI law does not address this outside of the "Castle Doctrine." However, jury instruction can include consideration of the opportunity to retreat.

Required to carry permit and ID while carrying?

Yes
175.60(2g)(b)1 & 2
WI statute defines photographic ID as an operator's (driver's) license or a state-issued identification card.

Must you inform an officer that you are carrying upon contact?
No
No
175.60(2g)(c)
No, only if asked, then must answer truthfully

Does the permit cover weapons other than firearms?

Yes
175.60(1)(j)
Handguns, electric weapons & "billy clubs" are included.

Can you carry in restaurants that serve alcohol?

Yes
941.237(3)(cx)
Yes, BUT you may not consume alcohol.

Carrying on snowmobiles and ATV
Yes
Yes

Long guns must be unloaded when in or on a vehicle, but no longer need to be cased. Handguns may be carried loaded & uncased without a permit if on your own property. If NOT on your own property you must have a permit to carry concealed.

State preemption of local restrictions
Yes
Yes
66.0409(2)
No political subdivision may enact or enforce an ordinance or adopt a resolution that regulates the sale, purchase..., ownership, use, keeping, possession, bearing, ... of any firearm..., unless the ordinance or resolution is the same as or similar to, and no more stringent than, a state statute. However, 943.13 does allow private owners & government entities to restrict carry on their properties.

Assault Weapons law?
No
No

Magazine capacity restriction?
No
No

Owner license required
No
No

National Firearms Act (NFA) Restrictions?
Yes
Yes
941.26,941.298

Background checks required for private sales?
No
No

Does this state recognize other state's carry permits?

Yes
175.60(1)(f)
Wisconsin recognizes other states based on their qualification requirements, primarily background checks. WI DOJ is designated to maintain a list of states with which WI maintains reciprocity.

Do private business "No Guns Allowed" signs have force of law?

Yes
175.60(17)(b)
Violation of those locations specified as prohibited by WI law carry a $500 fine &/or up to 30 days in jail, and need no sign, but some do. (Class C Misdemeanor)

943.13(1m)
Those not specified by law must prominently display a sign at least 5X7 inches (no graphics or verbiage are specified). Violation of these locations carries a fine of up to $1,000 (Class B Forfeiture).

The following are places you cannot carry a firearm based on Wisconsin statutes

Schools & school grounds
No
No/Yes
948.605(2)
School means public, private, parochial or tribal, 1st through 12th grade. NO when IN school building or on the grounds. Very limited exceptions. (Class I Felony) YES within 1,000 feet of the school grounds (not ON grounds) IF in possession of the CCW license. (Class B Forfeiture)

Law enforcement stations/offices (Police, Sheriff, State Patrol, etc.)
No
No
175.60(16)(a)1.
No licensee may knowingly carry a weapon, openly or concealed, or a firearm that is not a weapon, in any of these places. (Class C Misdemeanor)

Prisons, jails, houses of correction, etc.
No
No
175.60(16)(a)2.

Secure metal health facilities
No
No
175.60(16)(a)5.

Federal, state, county courthouses & municipal courtrooms when court in session
No
No
175.60(16)(a)6.&7.

Beyond TSA security checkpoints in airports (State offense vs Federal)
No
No
175.60(16)(a)8.

Trespass to Land (includes residences, businesses, government buildings, universities & colleges, churches, special events (State Fair, Summer Fest, etc.), grounds/land (if separately posted)
No
No
943.13(2)(bm)2.
No person may enter or remain on any land (includes structures) of another after having been notified by the owner, occupant, manager or organizer not to enter or remain on the premises when in possession of a weapon. A person has received notice from the owner or occupant if he or she has been notified personally, either orally or in writing, or if the property is posted. Property is considered to be posted with a sign that states a restriction imposed, that is at least 5 inches by 7 inches. No specific verbiage or graphics are specified in WI statute. (Class I Misdemeanor)

Parking Lots
Yes*
Yes
175.60(16)(b)1.
The prohibitions listed in this section do not apply to a weapon in a vehicle driven or parked in a parking facility. (*Long guns must be unloaded.) HOWEVER, this parking lot exception does NOT apply to FEDERAL facilities.

The following are places you cannot carry a firearm based on federal law

Post offices
No
No
39 C.F.R. § 232.1(l)
This includes the parking lot and the facility

Any federal facility
No
No
18 USC § 930
This means a building or any part of one whether owned or leased by the Federal Government where Federal employees are regularly present for the purpose of performing their official duties

IRS offices
No
No
18 USC § 930
See above

Federal court houses
No
No
18 USC § 930
See above

Ranger stations
No
No
18 USC § 930
See above

Federal buildings in federal parks
No
No
18 USC § 930
See above

Airports behind the secure area
No
No
18 USC § 930
Wisconsin has its own state statute covering this, as well. See above.


document_title: National Insurance number

question_text: when do you get given a national insurance number

text: National Insurance number

text: Allocation of number[edit]

text: People born and resident in the UK are assigned a Child Reference Number shortly after birth when a claim is made for Child Benefit.[3] At age 15 years 9 months HM Revenue and Customs (HMRC) notifies each child of their NI number.[4]

text: In 1993, a one-off mass allocation of NI numbers was made to all children under the age of 16 whose parents were in receipt of Child Benefit.  As a result of this, siblings who met the criteria above were allocated NI numbers sequentially.[5]

text:
Persons from abroad who wish to work in the UK, or those to whom a number was not initially allocated as children, must apply for a number through the Department for Work and Pensions (DWP).[6]
The prefixes used are typically different from those used in the normal run.[6][not in citation given]

text: Format[edit]

text: The format of the number is two prefix letters, six digits, and one suffix letter.[7] The example used is typically QQ123456C.  Often, the number is printed with spaces to pair off the digits, like this: QQ 12 34 56 C.

text: Neither of the first two letters can be D, F, I, Q, U or V. The second letter also cannot be O. The prefixes BG, GB, NK, KN, TN, NT and ZZ are not allocated.[8] Validation lists of issued two-letter prefixes are published from time to time.[9][10]

text: After the two prefix letters, the six digits are issued sequentially from 00 00 00 to 99 99 99. The last two digits determine the day of the week on which various social security benefits are payable and when unemployed claimants need to attend their Jobcentre to sign on (renew their claims): 00 to 19 for Monday, 20 to 39 for Tuesday, 40 to 59 for Wednesday, 60 to 79 for Thursday and 80 to 99 for Friday.[11][12]

text: The suffix letter is either A, B, C, or D.[7] (although F, M, and P have been used for temporary numbers in the past). The NI number is unique without the suffix letter, so, for example, if AB 12 34 56 C exists, then there will be no other numbers beginning with AB 12 34 56 (although temporary numbers were not necessarily unique, because two people with the same date of birth would have had the same number). In official electronic submissions, the final letter may be represented by a space if not known.[13]

text: Until 1975, the suffixes A, B, C and D at the end of the NI number signified the period of validity of the National Insurance cards originally used to collect National Insurance contributions (NICs). Cards were exchanged every twelve months and because of the very large numbers of cards issued the exchange was staggered. Suffix A cards ran from March of one year until March of the next when they were exchanged for a new one. Stagger B suffix cards ran from June until the following June, stagger C from September until the following September and stagger D from December until the following December. For example, a B stagger card issued in 1955 might have run from the first Monday in June that year until the first Sunday in June the following year. This staggered system operated from 5 July 1948 until 1975, at which time the A stagger cards were extended to run an extra five weeks, until 5 April 1975, in line with the end of the tax year. The B, C and D stagger NI Cards had a shorter period of validity in their final year, and ran from June, September and December respectively in 1974 until 6 April 1975. From 6 April 1975 onwards, a computerised National Insurance Recording System (NIRS) was used to allocate all NICs by tax years.

text: In Great Britain, expired NI cards were sorted into one hundred separate groups corresponding to the final two numbers of the NI number and were posted to the individual insured person's NI account (the RF1) by the corresponding one hundred ledger sections at the Records Branch of the Central Office of the Ministry of Labour and its successors—the Ministry of National Insurance (from 1945), Ministry of Pensions and National Insurance (1953), the Department of Health and Social Security (1968), Department of Social Security (1988), and Department for Work and Pensions (since 2001). These 100 sections dealt not only with the recording of NI contributions but with requests for information about qualifying contributions necessary to pay sickness, unemployment, widows, and other benefits and also with any correspondence arising from those NI accounts and NI cards. Within each of the 100 sections, NI numbers were allocated among 16 splits with one clerk administering each split. To trace unknown NI numbers, a general index contained millions of small RF2 index slips, filed in order of surname and listing the name(s), date of birth, and NI number for every person within the National Insurance scheme.

text: The Northern Ireland National Insurance scheme is funded and administered separately from the scheme in Great Britain but operates identically so that, in practice, the same rules apply throughout the United Kingdom.

text: Temporary numbers[edit]

text: Until April 2001, employers sometimes allocated their employees a temporary insurance number, which followed the format "TN dd mm yy x", where 'TN' stands for temporary number and is static and x is M for male, F for female, or P for pensioner and the numbers in the midsection were the employee's date of birth.[8] In the case of a woman born on 31 December 1958, for example, the temporary NI number would have been TN 31 12 58 F. Temporary NI numbers could not be used to trace back any NI credits or personal details. Since 2001 the National Insurance number must be obtained – the temporary code must not now be used.[14]

text: Another type of temporary NI number is the Revenue-issued "temporary reference" used when HMRC is unable to trace a taxpayer's original NI number. It follows the format 63T12345.

text: Administrative numbers[edit]

text: Reference numbers similar in format to NI numbers are sometimes allocated for tax or benefit purposes with special prefix letters.  Special prefixes used in the past include the letters OO (for Tax Credit claims), CR (for investigations), FY (formerly for Attendance Allowance claims, named after the Fylde social security office where claims were processed), MW (used from 1980 to 1987 for migrant workers), NC (formerly for Stakeholder Pensions, PP (for use by pension schemes as PP999999P), and PY or PZ (both used for tax-only accounts created prior to 2003).[7]

text: Numbercards[edit]

text: From 1984 until 2011, when a person was allocated an NI number they also received a plastic 'numbercard' of similar proportions to a credit card with the number raised on the front. Prior to 1984, a manila notification card was issued instead.  The card is only used as a reminder of the number and the card itself is not needed to start work, and is not considered a valid identity card.  Numbercards were phased out from September 2010, and the issue of numbercards ceased completely in October 2011.  NI numbers are now notified by letter.[15]

text: Crown dependencies[edit]

text: National Insurance numbers issued in the Isle of Man hold the prefix MA.[16] Similarly, those issued in Jersey start with JY, and those issued in Guernsey hold the prefix GY. Only Channel Island NINOs issued prior to 1975 are validated, and recognised for UK use by HMRC.[17]

text: Use for tax purposes[edit]

text: The National Insurance number is used as a reference number in the Pay As You Earn system, and also by the self-employed.  It is also used in applications for Individual Savings Accounts (ISAs), to check that an individual has opened only one ISA in a tax year.

text: However, the NI number is not used universally as a tax identification number.  Taxpayers who need to file a tax return are given a different number, a Unique Taxpayer Reference (UTR), which is used as a reference number in the self-assessment tax system.[18]

text: Use for identification[edit]

text: NI numbers are sometimes used for identification purposes in other contexts which have nothing to do with their original National Insurance purpose – such as forming part of evidence of right to work in the UK.[19] The NI card, however, is not proof of identity.