document_title: Princess Leia

question_text: when does leia find out darth vader is her father

question_tokens: when does leia find out darth vader is her father

text: Princess Leia

text: Creation and casting[edit]

text: Leia was created by Star Wars creator George Lucas. In 1999, Lucas explained his early development of Leia, Luke and Obi-Wan Kenobi:

text: The first [version] talked about a princess and an old general. The second version involved a father, his son, and his daughter; the daughter was the heroine of the film. Now the daughter has become Luke, Mark Hamill's character. There was also the story of two brothers where I transformed one of them into a sister. The older brother was imprisoned, and the young sister had to rescue him and bring him back to their dad.[3]

text: Film historian Laurent Bouzereau notes in his 1997 book Star Wars: The Annotated Screenplays that in the rough draft of Star Wars, Leia is the spoiled teenage daughter of King Kayos and Queen Breha of Aquilae, with two brothers, Biggs and Windy; Biggs returned to the fourth draft as a childhood friend of Luke.[4] According to Skywalking: The Life and Films of George Lucas (1999), Luke Skywalker was originally Luke Starkiller and Leia was "the daughter of Owen Lars and his wife Beru and seems to be Luke's cousin–together they visit the grave of his mother, who perished with his father on a planet destroyed by the Death Star."[5] J. W. Rinzler explains in The Making of Star Wars: The Definitive Story Behind the Original Film (2007) that a later story synopsis establishes Leia as "Leia Antilles", the daughter of Bail Antilles from the peaceful world of Organa Major. In the fourth draft it was established that "Leia Organa" came instead from Alderaan.[6]

text: Fisher was 19 when she was cast as Princess Leia,[7] with actresses including Amy Irving, Cindy Williams and Jodie Foster also up for the role.[8][9] In 2014, InkTank reported that the extended list of "more than two dozen actresses" who had auditioned for Leia included Glenn Close, Farrah Fawcett, Jessica Lange, Sissy Spacek, Sigourney Weaver, Cybill Shepherd, Jane Seymour, Anjelica Huston, Kim Basinger, Kathleen Turner, Geena Davis and Meryl Streep.[10][11][12] Asked about Streep in 2015, Fisher said, "I've never heard that one. But Jodie Foster was up for it... that one I knew the most. Amy Irving and Jodie. And I got it."[13]

text: The second draft of the Return of the Jedi screenplay contained dialogue in which Obi-Wan tells Luke he has a twin sister. She and their mother were "sent to the protection of friends in a distant system. The mother died shortly thereafter, and Luke's sister was adopted by Ben's friends, the governor of Alderaan and his wife."[14] Fisher explained in 1983: "Leia's real father left her mother when she was pregnant, so her mother married this King Organa. I was adopted and grew up set apart from other people because I was a princess."[15]

text: Composer John Williams created a musical leitmotif for Leia which recurs throughout the Star Wars saga. "Princess Leia's Theme" was recorded as a concert suite (4:18 length) for the score of the 1977 film.

text: Character[edit]

text: Anthony Breznican of Entertainment Weekly describes Leia as a "diplomat, spy, warrior, undercover agent".[16] Mark Edlitz calls her "a smart, feisty, brave diplomat and warrior" in The Huffington Post.[17] Fisher told Rolling Stone in 1983:

text: There are a lot of people who don't like my character in these movies; they think I'm some kind of space bitch. She has no friends, no family; her planet was blown up in seconds ... so all she has is a cause. From the first film [Star Wars], she was just a soldier, front line and center. The only way they knew to make the character strong was to make her angry. In Return of the Jedi, she gets to be more feminine, more supportive, more affectionate.[15]

text: She said in 2014:

text: I would rather have played Han Solo. When I first read the script I thought that's the part to be, always wry and sardonic. He's always that. I feel like a lot of the time Leia's either worried or pissed or, thank God, sort of snarky. But I'm much more worried and pissed than Han Solo ever was, and those aren't fun things to play ... I had a lot of fun killing Jabba the Hutt. They asked me on the day if I wanted to have a stunt double kill Jabba. No! That's the best time I ever had as an actor. And the only reason to go into acting is if you can kill a giant monster.[7]

text: Appearances[edit]

text: Feature films[edit]

text: Star Wars[edit]

text: Introduced in the original 1977 film Star Wars, Princess Leia Organa of Alderaan is a member of the Imperial Senate. She is captured by Darth Vader on board the ship Tantive IV, where she is acting as a spy for the Rebel Alliance. Leia has secretly hidden the plans for the Death Star, the Empire's moon-sized battle station, inside the astromech droid R2-D2 and has sent it to find one of the last remaining Jedi, Obi-Wan Kenobi, on the nearby planet of Tatooine. Vader arrests Leia and has her tortured, but she resists revealing anything. Death Star commander Grand Moff Tarkin threatens to destroy her home planet Alderaan with the Death Star unless she reveals the location of the hidden Rebel base. She provides the location of an old, abandoned base, but Tarkin orders Alderaan to be destroyed anyway. Leia is rescued by Obi-Wan, Luke Skywalker, Han Solo, the Wookiee Chewbacca and the two droids R2-D2 and C-3PO, and they escape aboard Han's ship, the Millennium Falcon. After analyzing the Death Star's plans, the Rebels find a tiny weakness in the battle station, which Luke uses to destroy it in his X-wing fighter. The battle won, Leia bestows medals on its heroes at the hidden Rebel base on Yavin 4.

text: Alyssa Rosenberg of The Washington Post writes of Leia in the film:

text: Leia’s nerves as a revolutionary are clear from the moment she arrives on screen ... She takes shots at the Storm Troopers boarding her ship, gets stunned with a blaster in her hand, then has the audacity to try to make Darth Vader feel ashamed of himself ... She has enough energy left over after a nasty session of torture to insult Grand Moff Tarkin. And while she grieves when her home planet, Alderaan, is destroyed by the Death Star, Leia’s not paralyzed: when her unexpected rescuers show up, she’s ready to go, and to gripe about their operational sloppiness.[18]

text: Rosenberg also notes that, though Han is almost immediately attracted to Leia, they conflict because she insists on asserting command and he automatically resists, even as she proves herself to be worthy of it.[18] And despite her initial disdain for the smuggler, whom she sees as selfish, Leia later acknowledges "I knew there was more to you than money" when Han comes through for the Rebellion.[18]

text: Fisher told Rolling Stone in 1980 that in the original script, when Luke and Han come to rescue a captured Leia, "I was hanging upside down with yellow eyes, like in The Exorcist ... Some form of radar torture was done to me and I was in a beam, bruised and beaten up, suspended in midair. The reason it was cut from the film was because I was unconscious and the Wookiee would have had to carry me for, like, the next fifteen minutes."[19]

text: The Empire Strikes Back[edit]

text: In The Empire Strikes Back (1980), Leia is at the Rebel base on Hoth. She leads its evacuation during an Imperial attack, and then flees with Han, Chewbacca and C-3PO on Han's ship, the Millennium Falcon. They dodge pursuing Imperial TIE fighters by flying into an asteroid field when the Falcon's hyperdrive breaks down, with Leia piloting the ship at one point. Romance blossoms between Leia and Han during their flight from the Empire; while hiding in the stomach of a space slug, they finally share a kiss. With his ship needing repairs, Han seeks out his old friend Lando Calrissian in Cloud City, the floating city over Bespin. Though he welcomes them graciously, Lando soon turns them over to a newly arrived Darth Vader, who hopes to use them as bait to capture Luke. Leia confesses her love for Han as he is frozen in carbonite and then handed over to bounty hunter Boba Fett, who is charged with bringing him to gangster Jabba the Hutt. Lando helps Leia, Chewbacca and the two droids escape. Leia senses that Luke is in trouble, and goes back to save him after he is nearly killed during a lightsaber duel with Vader.

text: Rosenberg notes:

text: Yes, it’s slightly ridiculous ... that [Han] tries to pry a confession of affection out of her on Hoth, as Leia is trying to manage an evacuation with just an ion cannon for defense. But Han’s not wrong that if Leia doesn't figure out that she’s a person with needs, she's going to burn out ... In a way, it’s an early confession of love: Han’s anxious about the bounty hunters who are still pursuing him ... But he would stay and give his love and support to Leia if she could just acknowledge that she needs him.[18]

text: Return of the Jedi[edit]

text: In Return of the Jedi (1983), Leia infiltrates Jabba's palace on Tatooine disguised as the Ubese bounty hunter Boushh, and brings a captive Chewbacca with her as part of the ruse. She frees Han from the carbonite, but they are recaptured by Jabba. Leia is now chained to Jabba as his slave, outfitted in a metal bikini. After Luke arrives and kills Jabba's Rancor, Jabba sentences Luke, Han and Chewbacca to be fed to the Sarlacc. Lando (disguised as a guard) helps them overpower their captors, and Leia seizes the moment to strangle Jabba with her chain. Luke and Leia swing to safety, blowing up Jabba's barge behind them. Later, the heroes go to the forest moon of Endor to prepare for a battle with the Empire. There, Luke reveals to Leia that she is his twin sister and that Vader is their father. Leia joins Han in leading the Rebels in battle with Imperial troops as the Rebel Fleet attacks the second Death Star. Leia is slightly injured, but the Rebels, with help from the Ewoks, defeat the forces of the Empire.

text: Fisher told Rolling Stone in 1983, "In Return of the Jedi, [Leia] gets to be more feminine, more supportive, more affectionate. But let's not forget that these movies are basically boys' fantasies. So the other way they made her more female in this one was to have her take off her clothes."[15] Rosenberg writes of Han and Leia:

text: And we know those two crazy kids are locked for life in Return of the Jedi when it turns out that Han has accepted a Generalship in the Rebellion, keeping it a secret from Leia. In A New Hope, Leia was grumbling about the quality of Han as a rescuer ... But when she finds out what Han’s done, accepting a rank he once found insulting and a mission she knows to be dangerous, Leia is the first person to volunteer to join his strike team. In Star Wars, that’s what love looks like: trusting your partner’s commitment to the cause and respecting his strategic and technical judgement.[18]

text: In the film, Leia says that she has vague memories of her real mother, who she describes as "kind... but sad". Bouzereau quoted Lucas in 1997:

text: The part that I never really developed is the death of Luke and Leia's mother. I had a backstory for her in earlier drafts, but it basically didn't survive. When I got to Jedi, I wanted one of the kids to have some kind of memory of her because she will be a key figure in the new episodes I'm writing. But I really debated whether or not Leia should remember her.[20]

text: Revenge of the Sith[edit]

text: In the prequel film Revenge of the Sith (2005), Padmé Amidala is pregnant with Anakin Skywalker's twins near the end of the Clone Wars. After Anakin turns to the dark side of the Force and becomes Darth Vader, Padmé gives birth to Luke and Leia on Polis Massa and then dies. Leia is adopted by Senator Bail Organa and his wife Queen Breha of Alderaan.

text: Film critic Peter Travers of Rolling Stone wrote, "As we watch Anakin nearly melt in the lava, only to be put together, Frankenstein style, in a lab while Lucas intercuts scenes of Padme giving birth to the twins Luke and Leia, a link to genuine feeling is established at last."[21]

text: The Force Awakens[edit]

text: In March 2013, Fisher confirmed that she would reprise her role as Leia in Star Wars: The Force Awakens.[22] Set 30 years after Return of the Jedi, The Force Awakens reintroduces a Leia who is "a little more battle weary, a little more broken hearted".[16] In November 2015, director J.J. Abrams said of Leia, "She’s referred to as General but ... there's a moment in the movie where a character sort of slips and calls her 'Princess.'"[23] Commenting on the story he added, "The stakes are pretty high in the story for her, so there’s not much goofing around where Leia’s concerned."[23] Asked how Leia is handling things in the film, Fisher said, "Not easily ... [she is] solitary. Under a lot of pressure. Committed as ever to her cause, but I would imagine feeling somewhat defeated, tired, and pissed."[23]

text: In the film, Leia is the leader of the Resistance, a group formed by the New Republic to fight a proxy war with the First Order and trying to find Luke, who disappeared years earlier. When her forces foil a First Order attack searching for the Resistance astromech droid BB-8, Leia is reunited with Han, who has helped the renegade stormtrooper Finn and orphaned scavenger Rey bring the droid this far. Han and Leia have been estranged for many years; their marriage fell apart after their son, Ben, fell to the dark side and became the First Order commander Kylo Ren. Leia believes Ben can still be brought back to the light side. Han volunteers for a mission to infiltrate the First Order's Starkiller Base to disable its defensive shields. Confronting Ren, Han tries to convince his son to leave the First Order, but Ren instead impales his father on his lightsaber.[24] Leia senses Han's death through the Force, and later shares a moment of grief with Rey, who had thought of Han as a mentor. Leia sees Rey, Chewbacca, and R2-D2 off when they depart to locate Luke, saying, "may the Force be with you".

text: Asked why Leia is not shown to be a Jedi in The Force Awakens (as she is in the Star Wars expanded universe works), Abrams told IGN, "It was a great question, and one that we talked about quite a bit, even with Carrie [Fisher]. Why did she not take advantage of this natural Force strength that this character had. And one of the answers was that it was simply a choice that she made, that her decision to run the Rebellion, and ultimately this Resistance, and consider herself a General, as opposed to a Jedi. It was simply a choice that she took". He also added, "I would like to think that there really isn't much of a ticking clock, and it's never too late ... clearly we've seen, and we do again, that she still is Force strong. And it's something that I think is an intrinsic piece of her character.[25]

text: Fisher was nominated for a 2016 Saturn Award for Best Supporting Actress for her portrayal.[26]

text: The Last Jedi[edit]

text: In December 2015, producer Kathleen Kennedy confirmed that Fisher would reprise the role of Leia in the next installment, then known as Star Wars: Episode VIII,[27] but later named Star Wars: The Last Jedi.[28] Fisher died on December 27, 2016, after going into cardiac arrest. It was confirmed that she had completed filming her role in the film shortly before her death.[29]

text: In the film, Leia is among those on the bridge of her flagship, the Raddus, who are expelled into space when the ship is attacked by the First Order. Leia uses the Force to pull herself back to the ship. After recovering, she shoots and stuns Poe Dameron, who has mutinied against her successor, Vice Admiral Holdo. From his solitude on Ahch-To, Luke projects himself through the Force to the Resistance stronghold on Crait and reunites with Leia, apologizing for what happened to Ben. Leia replies that she knows her son is gone, but Luke reassures her that "no one's ever really gone". While Luke distracts Kylo and his attacking First Order troops, Leia is among the remaining Resistance forces who escape from Crait in the Millennium Falcon.

text: Episode IX[edit]

text: Following Fisher's death, Variety reported that she was slated to appear in Star Wars: Episode IX and speculated that Lucasfilm would need to find a way to address her death and what would become of her character. Filming is expected to begin in 2018.[30][31][32] Lucasfilm announced in January 2017 that they had "no plans to digitally recreate Carrie Fisher's performance as Princess or General Leia Organa".[33] In April 2017, Fisher's family granted Disney and Lucasfilm the rights to use recent footage of the late actress in Episode IX.[34] However, Kennedy subsequently said that Fisher would not appear in the film.[35][36]

text: Anthology films[edit]

text: Rogue One: A Star Wars Story[edit]

text: Leia makes a brief appearance in the final scene of the 2016 film Rogue One, receiving the plans for the Death Star as a lead-up to the beginning of A New Hope. Since this movie takes place prior to the original Star Wars trilogy, a very young Leia was required.[37] To achieve that effect, a computer-generated image of a young Carrie Fisher was superimposed over Norwegian actress Ingvild Deila's face; archival audio of Fisher saying "Hope" was used to voice the character.[37][38][39]

text: Novels[edit]

text: Leia makes her first literary appearance in Star Wars: From the Adventures of Luke Skywalker, the novelization of the original 1977 film Star Wars, which was released six months before the film in November 1976. Credited to Lucas but ghostwritten by Alan Dean Foster, the novel was based on Lucas' screenplay.[40] Leia later appeared in the novelizations The Empire Strikes Back (1980) by Donald F. Glut and Return of the Jedi (1983) by James Kahn. She is also a point of view character in the 2015 novelization of The Force Awakens by Foster.[41]

text: Foster's 1978 novel Splinter of the Mind's Eye was commissioned by Lucas as the basis for a potential low-budget sequel to Star Wars should the film prove unsuccessful.[42] In the story, Luke and Leia seek a crystal on a swampy planet and eventually face Vader in combat.

text: Leia also appears in the Journey to Star Wars: The Force Awakens line of novels and comic books, introduced in conjunction with The Force Awakens to connect the film with previous installments.[43] She is the lead character in the young adult novel Moving Target: A Princess Leia Adventure (2015) by Cecil Castellucci and Jason Fry, which is set between The Empire Strikes Back and Return of the Jedi,[44][45] and Claudia Gray's novels Star Wars: Bloodline (2016)[46][47] and Leia: Princess of Alderaan (2017). The former is set six years before The Force Awakens, while the latter features a 16-year-old Leia before the events of A New Hope.

text: Comics[edit]

text: Leia is the lead character in the five-part comic limited series Star Wars: Princess Leia (2015), set between Episode IV: A New Hope and The Empire Strikes Back. She is featured prominently in the four-part comic limited series Star Wars: Shattered Empire (2015), set immediately after Return of the Jedi.[48] In Princess Leia #2 and Shattered Empire, Leia is seen using her Force sensitivities to sense the past,[49][50] and in Star Wars #12, she uses a lightsaber as a weapon for the first time canonically.[51] Princess Leia reveals Leia to have had royal training in martial arts and explores her reaction to the destruction of Alderaan, while Shattered Empire also portrays her as a skilled pilot who undertakes a dangerous mission alongside Poe Dameron's mother.[49][50]

text: Television[edit]

text: Star Wars Holiday Special[edit]

text: Leia appears briefly in the 1978 Star Wars Holiday Special TV film as a leader and administrator of the new Rebel Alliance base. She and C-3PO contact Chewbacca's wife Mallatobuck for assistance in finding Chewbacca and Han. Leia also appears in the cartoon segment at a different Rebel Base, located in an asteroid field, and at the Life Day ceremony at the end of the film.[52] Fisher also appeared in and hosted the November 18, 1978 episode of Saturday Night Live that aired one day after the holiday special.[53] The Summer 1983 issue of Rolling Stone magazine poked fun at this appearance.[54][55]

text: Star Wars Rebels[edit]

text: A teenage version of Princess Leia, voiced by Julie Dolan, appears in a 2016 episode of the animated series Star Wars Rebels, which is set between Revenge of the Sith and A New Hope.[56] In the episode, Leia is sent on a secret mission to assist the titular rebels.[56] Executive producer Dave Filoni said of the appearance:

text: We thought we had an opportunity to show her learning to be a leader, experimenting with the personality that becomes the stronger more resolute character you see in A New Hope. One of the complex challenges of depicting Leia in Rebels is that we have to remind the audience that at this point she is part of the Empire. She doesn't believe in the Empire, but she is acting the part, almost a double agent.[56]

text: Star Wars: Forces of Destiny[edit]

text: Leia appears in the animated series Star Wars: Forces of Destiny, voiced by Shelby Young.[57]

text: Legends works[edit]

text: The original three Star Wars films have spawned a large franchise of works that include novels, comic books, video games and animated television series. Leia appears in much of this material. In April 2014 (with the sequel film The Force Awakens in production), Lucasfilm separated the Star Wars expanded universe (rebranded as Star Wars Legends) from official Star Wars canon.[58]

text: Novels[edit]

text: The 1991 New York Times bestselling novel Heir to the Empire by Timothy Zahn began what would become a large collection of works set before, between and especially after the original films.[59]

text: Post-Return of the Jedi[edit]

text: The bestselling Thrawn trilogy (1991–93) by Timothy Zahn begins five years after the events of Return of the Jedi.[59] In Heir to the Empire (1991), Leia is married to Han and three months pregnant with twins. Noghri commandos repeatedly attempt to kidnap her as part of Grand Admiral Thrawn's plan to restore the Empire and crush the New Republic.[60] In Dark Force Rising (1992), Leia realizes that Darth Vader and the Empire deceived the Noghri to secure their allegiance, and by revealing the truth she turns the alien race to the side of the New Republic.[61] In The Last Command (1993), Leia gives birth to the twins Jaina and Jacen on Coruscant during Thrawn's siege.[62] Leia, now the Chief of State of the New Republic, is a minor character in the Jedi Academy trilogy (1994) by Kevin J. Anderson, set after the Thrawn trilogy. Next in the timeline is the Callista trilogy: Children of the Jedi (1995) by Barbara Hambly, Darksaber (1995) by Anderson and Planet of Twilight (1997) by Hambly. In The Crystal Star (1994) by Vonda McIntyre, young Jacen, Jaina and their three-year-old brother Anakin are kidnapped in a plot to restore the Empire, but are rescued by Leia and Chewbacca. Leia struggles with the responsibilities of her position in The Black Fleet Crisis trilogy (1996) by Michael P. Kube-McDowell. In The New Rebellion (1996) by Kristine Kathryn Rusch, she avoids an assassination attempt and then aids in the defeat of the Dark Jedi Kueller, whom she shoots to death. The Corellian trilogy (1995) by Roger MacBride Allen finds Han and Leia swept up in a civil war while visiting his homeworld of Corellia with their children. In the two Hand of Thrawn novels by Timothy Zahn (1997's Specter of the Past and 1998's Vision of the Future), Leia tries to hold the New Republic together as Moff Disra conspires for its volatile factions to destroy each other. Leia appears periodically in the Young Jedi Knights series (1995–98) by Kevin J. Anderson and Rebecca Moesta. The 14-volume young adult fiction series covers the Jedi training of Jacen and Jaina.[63][64][65][66]

text: In The Truce at Bakura (1993) by Kathy Tyers, set one day after the ending of Return of the Jedi, Leia establishes New Alderaan, a sanctuary for the destroyed planet's surviving inhabitants. The spirit of Anakin Skywalker appears to Leia and pleads for her forgiveness, but she angrily banishes him. The six-volume Jedi Prince series (1992–93) by Paul Davids and Hollace Davids, later contradicted by other novels, is set within a year after Return of the Jedi. In The Glove of Darth Vader (1992), the self-proclaimed son of the defeated Emperor Palpatine, Trioculus, seeks the titular glove to cement himself as the new Emperor. Entranced by Leia's beauty in The Lost City of the Jedi (1992), Trioculus vows to make her his queen. He captures her in Zorba the Hutt's Revenge (1992), but Jabba the Hutt's vengeful father, Zorba, offers to trade his own prisoner Ken—Palpatine's real grandson whom Trioculus has been seeking—for Leia, his son's killer. But Leia and Ken are rescued and Trioculus is frozen in carbonate by Zorba. Mission from Mount Yoda (1993) finds Ken's father Triclops alive and willing to join the Rebels against the Empire. Leia, now engaged to Han, is captured by Zorba in Queen of the Empire (1993). Trioculus is revived and seizes Leia before Zorba can kill her. Leia is rescued and replaced with a lookalike droid decoy, which kills Trioculus. In Prophets of the Dark Side (1993), Leia looks forward to her wedding to Han and has a vision of their two children. Matthew Stover's 2008 standalone novel Luke Skywalker and the Shadows of Mindor picks up the story soon after, as Luke, Leia and the Rebels fight the Sith Lord Shadowspawn.

text: In The Courtship of Princess Leia (1994) by Dave Wolverton, set immediately before the Thrawn trilogy, Leia is presented with an advantageous political marriage to Prince Isolder of the planet Hapes. A jealous Han abducts Leia and takes her to the planet Dathomir; Luke and Isolder follow, and there they all find the hidden forces of the Imperial warlord Zsinj.[67] Defeating him, Han and Leia marry.[68] The 2003 novels A Forest Apart and Tatooine Ghost by Troy Denning are set immediately after The Courtship of Princess Leia. The newly married Leia fears that any children she has may succumb to the dark side like her father. During an adventure on Tatooine in Tatooine Ghost, she discovers the diary of her grandmother Shmi Skywalker and meets some of young Anakin's childhood friends. When she learns of Anakin's childhood as a slave and the traumatic death of his mother, Leia learns to forgive her father.

text: Works set between films[edit]

text: In Shadows of the Empire (1996) by Steve Perry, the only Star Wars novel set between The Empire Strikes Back and Return of the Jedi, Leia is searching for Boba Fett to find a captive Han. She is bewitched by the crime lord Prince Xizor using pheromones, but Chewbacca helps her elude the seduction.[69]

text: Allegiance (2007) and Choices of One (2011) by Timothy Zahn are set between Star Wars: A New Hope and The Empire Strikes Back, and feature Leia and her cohorts seeking new allies for their Rebellion against the Empire. Razor's Edge (2013) by Martha Wells and Honor Among Thieves (2014) by James S. A. Corey take place in the same time period and also chronicle the adventures of Leia and Han.

text: New Jedi Order[edit]

text: In the New Jedi Order series (1999–2003), Leia resigns as Chief of State, and on the heels of her warnings before the Senate, the alien Yuuzhan Vong invade the galaxy. They destroy system after system and defeat both the Jedi and the New Republic forces in countless battles. Chewbacca dies in Vector Prime (1999) by R.A. Salvatore, which sends Han into a deep depression that causes a rift between him and Leia. They reunite after Leia is gravely wounded at the Battle of Duro in Kathy Tyers' Balance Point (2000). She is targeted by a deadly Voxyn slayer in Troy Dennings' Star By Star (2001), and though she manages to evade death, her son Anakin is later killed during a mission to prevent more Voxyn from being cloned. The Vong are finally defeated in The Unifying Force (2003) by James Luceno.

text: In Denning's The Dark Nest trilogy (2005), Leia, Han and several Jedi become involved in an escalating border dispute between the Chiss and the insidious insectoid Killiks, and Leia makes a bitter enemy in the Twi'lek warrior Alema Rar. In The Joiner King (2005), Leia asks Saba Sebatyne to train her as a Jedi Knight. R2-D2 malfunctions in The Unseen Queen (2005) and shows Luke a holoclip of his father Anakin and a pregnant woman, whom Luke learns is his and Leia's biological mother, Padmé Amidala. Anakin and Padmé are discussing a dream of Anakin's in which Padmé dies in childbirth; later, Luke and Leia watch a clip in which Padmé is talking to Obi-Wan Kenobi about Anakin. Tenel Ka, Queen Mother of the Hapes Consortium, has a daughter, Allana, secretly fathered by Jacen. In The Swarm War (2005), Luke and Leia view holoclips of their mother's death, and Leia is promoted to Jedi Knight.

text: Legacy of the Force[edit]

text: The bestselling Legacy of the Force series (2006–08) chronicles the crossover of Han and Leia's son Jacen to the dark side of the Force while the Jedi, Solos and Skywalkers fight against his growing power.[63][64][65][66] In Betrayal (2006) by Aaron Allston, Jacen turns to the dark side, believing that it is the only way to save the galaxy from the chaos brewing among the member systems of the Galactic Alliance. Jacen realizes in Bloodlines (2006) by Karen Traviss that the Sith discipline will require him to kill one of his loved ones, which he decides is an acceptable sacrifice to save the galaxy. In Troy Denning's Tempest (2006), Han and Leia thwart the assassination of Tenel Ka and Allana, but become caught up in a Corellian conspiracy. They are almost killed when the Millennium Falcon is attacked by a Star Destroyer controlled by an increasingly powerful Jacen—who knows that his parents are on board. With Han injured, Leia and Lando further investigate the Corellians in Aaron Allston's Exile (2007), but Alema reappears to exact her vengeance on Leia. Sacrifice (2007) by Karen Traviss finds Leia and Han on the run, hunted by Jacen as traitors to the Galactic Alliance. He kills Luke's wife Mara Jade as his final sacrifice to become Darth Caedus, the new ruler of the Sith. In Inferno (2007) by Troy Denning, Han and Leia are faced with the reality that their son, now Joint Chief of State, is the enemy. Leia attempts unsuccessfully to manipulate Jacen in Aaron Allston's Fury (2007) so that the Jedi can both thwart him and neutralize Alema. Finally, in Invincible (2008) by Troy Denning, Jaina kills Jacen in lightsaber duel. At Tenel Ka's request, Leia and Han adopt Allana, disguised with the name "Amelia" to protect her from any future vengeance against Cadeus or the Hapes Consortium. Multiple novels in the series made the New York Times Best Seller list.[70][71][72][73][74]

text: The nine-volume Fate of the Jedi series (2009–12) by Aaron Allston, Troy Denning and Christie Golden finds Han and Leia become caught up in the intensifying conflict between the Galactic Alliance and the Jedi. In the wake of Darth Cadeus' death, the now-peaceful Galactic Alliance harbors a growing mistrust toward the Jedi, and the situation is worsened by a Force-induced psychosis that begins afflicting individual Jedi, sending them on violent rampages.

text: In Millennium Falcon (2008) by James Luceno, set between Legacy of the Force and Fate of the Jedi, a mysterious device hidden inside the eponymous spacecraft sends Han, Leia and Allana on an adventure to investigate the ship's past before it came into Han's possession. Troy Denning's Crucible (2013), set after Fate of the Jedi and the last novel to date in the Star Wars Legends chronology, reunites Leia, Han and Luke with Lando as they aid him to thwart a vast criminal enterprise threatening his asteroid mineral refinery in the Chilean Rift nebula.

text: Comics[edit]

text: Dark Empire[edit]

text: During the events of the comic series Dark Empire (1991–92), Palpatine has been resurrected in a young clone body and seduces Luke to the dark side of the Force as part of his plan to restore the Empire. A captive Leia, resisting Palpatine's attempts to turn her as well, escapes with an artifact he needs to secure his power, the Jedi Holocron. Luke pursues her, and Leia manages to turn him back. Brother and sister then fight Palpatine with the light side of the Force, turning his own Force-generated storm against him and destroying Palpatine and his Star Destroyer. In Dark Empire II (1994–95), Leia gives birth to a third child by Han, whom she names Anakin. Palpatine is reborn in an inferior, rapidly deteriorating clone body in Empire's End (1995), and seeks to possess the body of the infant Anakin.

text: Cultural impact[edit]

text: Princess Leia has been called a 1980s icon,[75] a feminist hero[76] and "an exemplary personification of female empowerment".[17] In 2008, Leia was selected by Empire magazine as the 89th greatest film character of all time,[77] and IGN listed her as their 8th top Star Wars hero.[78] UGO Networks listed Leia as one of their best heroes of all time in 2010.[79]

text: The character has been referenced or parodied in several TV shows and films,[80] and celebrated in cosplay.[81] Fisher appeared in the Leia metal bikini on the cover of the Summer 1983 issue of Rolling Stone,[54][55] and a painting of Leia and other characters surrounding Lucas appeared on the cover of the May 25, 1983 issue of Time announcing Return of the Jedi.[82][83] In 2013, cartoonist Jeffrey Brown published the bestselling Star Wars: Vader's Little Princess, a comic strip-style book featuring Darth Vader and a young Leia in humorous father-daughter situations.[84][85][86] Princess Leia appears on a 2007 US postage stamp[87][88] and a 2015 UK stamp.[89][90][91]

text: Leia has also been used in a wide range of Star Wars merchandise,[92] including statuettes, action figures and other toys, household items and clothing,[93] office supplies, food products,[94] and bubble bath and shampoo in Leia-shaped bottles with her head as the cap.[95][96][97] In her one-woman show Wishful Drinking, Fisher called the Princess Leia Pez dispenser one of the "merchandising horrors" of the series.[98] In a 2011 interview, Fisher said:

text: I signed away my likeness for free. In those days, there was no such thing as a “likeness" ... There was no merchandising tied to movies. No one could have known the extent of the franchise. Not that I don’t think I’m cute or anything, but when I looked in the mirror, I didn’t think I was signing away anything of value. Lately I feel like I’m Minnie Mouse—the identity of Princess Leia so eclipses any other identity that I’ve ever had.[92]

text: After the 2012 acquisition of LucasFilm by the Walt Disney Company, the Disney Store stated in May 2014 that the company had "no plans for Leia products".[99] After public criticism, Disney told Time in June 2014 that it would be releasing several Leia products.[99] Funko has since produced several versions of Leia (at least one for each film) in their POP! line of 4.5 inch vinyl figures in the Japanese super deformed style. Hasbro is set to release an action figure of Leia as she appears in the Star Wars Rebels animated series.[100]

text: "Cinnamon buns" hairstyle[edit]

text: Leia's unique hairdo in 1977's A New Hope has come to be known as the "doughnut" or "cinnamon buns" hairstyle,[101] and is iconic of the character and series.[80] A February 1978 cover story for the British teen magazine Jackie included step-by-step instructions on how to replicate Leia's hair buns.[102][103] In the 1978 short film parody Hardware Wars, Princess Anne-Droid has actual cinnamon buns on the side of her head.[104] Miss Piggy of The Muppet Show copied the hairdo in a Star Wars-themed episode of the series in February 1980.[105] In the 1987 Mel Brooks comedy film Spaceballs, Princess Vespa (Daphne Zuniga) appears to have the hairstyle, which is soon revealed to in fact be a large pair of headphones.[80] In the parody film Thumb Wars, the role of Leia was filled by a character named Princess Bunhead, who has two cinnamon rolls for hair. In 2015, Fisher's daughter Billie Lourd's character in the horror-comedy TV series Scream Queens, a rich and disaffected sorority girl known as Chanel No. 3, wears earmuffs in every scene as an homage to Fisher's iconic Leia hairstyle.[106][107] Lourd also has a cameo in The Force Awakens (2015) in which she wears Leia's distinctive hair buns.[108][109][110]

text: Asked about his inspiration for the hairstyle, George Lucas told Time in 2008, "In the 1977 film, I was working very hard to create something different that wasn't fashion, so I went with a kind of Southwestern Pancho Villa woman revolutionary look, which is what that is. The buns are basically from turn-of-the-century Mexico."[111] However, in 2015 Linda Rodriguez McRobbie of Mental Floss recounted research suggesting that while female Mexican revolutionaries of that time did not have such elaborate hairstyles, young marriageable Hopi women did, and their "squash blossom whorls" superficially resemble Leia's hair buns.[112][113][114][115] McRobbie also relates Michael Heilemann's theory that Leia's hairstyle was likely also inspired by that of two earlier characters: Queen Fria in the 1939 Flash Gordon comic strip "The Ice Kingdom of Mongo", and scientist Barnes Wallis’ wife Molly (played by Ursula Jeans) in the 1955 war film The Dam Busters.[112][113] Lucas was influenced by the Flash Gordon serials, and the Battle of Yavin in Star Wars is an homage to the penultimate bombing sequence in The Dam Busters.[116][117] Comparisons have also been made to the 4th century BC Iberian sculpture Lady of Elche,[112][113][118] as well as the 1920s "earphones" hairstyle.[112][119]

text: Feminist analysis[edit]

text: Leia has been the subject of feminist analysis. Mark Edlitz wrote for The Huffington Post in 2010 that "Leia is an exemplary personification of female empowerment."[17] David Bushman, television curator at the Paley Center for Media, said in 2012, "From the male perspective ... Princess Leia was a very creditable character for her time—not perfect, but certainly defiant, assertive, and strong."[75] Alyssa Rosenberg of The Washington Post wrote in 2015, "Leia wasn't just the first great heroine of science fiction and fantasy to capture my imagination. She was one of the first characters I encountered whose power came from her political conviction and acumen."[18] In her 2007 article "Feminism and the Force: Empowerment and Disillusionment in a Galaxy Far, Far Away", Diana Dominguez cited Leia as a welcome change from the previous portrayals of women in film and TV.[101] She wrote:

text: Here was a woman who could play like and with the boys, but who didn't have to become one of the boys and who could, if and when she wanted to, show she liked the boys, a woman who is outspoken, unashamed, and, most importantly, unpunished for being so. She isn't a flirty sex-pot, tossing her hair around seductively to distract the enemy ... She doesn't play the role of "Maternal caretaker", although she does display caring and compassion, or "the sweet innocent damsel" who stands passively by while the men do all the work, but does step aside to let them do what they're good at when it is wise to do so ... Leia is a hero without losing her gendered status; she does not have to play the cute, helpless sex kitten or become sexless and androgynous to get what she wants. She can be strong, sassy, outspoken, bossy, and bitchy, and still be respected and seen as feminine.[101][120]

text: Rosenberg writes that, though at first Luke is an apolitical innocent in search of adventure and Han is a detached opportunist in search of money, both are "influenced by Leia’s passion [and] take their places as full participants in the Rebellion".[18] She notes, "Everyone else eventually comes around to Leia’s view of the world."[18] Leia herself, singularly dedicated to her political movement against the Empire, "finds a partner in Han, acknowledging that personal happiness can help her sustain her commitment to building a better galactic order".[18] Rosenberg cites "Leia's willingness to see the best in him, and Han's desire to live up to her belief in him" as a foundation of their relationship, also pointing out his attempts to make her recognize that she has needs like anyone else and should acknowledge that she needs him.[18]

text: In their 2012 essay "Lightsabers, Political Arenas, and Marriages", Ray Merlock and Kathy Merlock Jackson cite Leia as the successor of earlier science fiction heroines Wilma Deering of Buck Rogers and Dale Arden of Flash Gordon, and the embodiment of "a new stage in the ongoing presentation of the fairy-tale princess in jeopardy". Writing that "after Leia, no longer would princesses be passive and salvaged simply with a kiss," they note the reflection of the character in later Disney Princess animated films and in woman warriors such as Ellen Ripley from the Alien franchise and Xena of the adventure TV series Xena: Warrior Princess.[101] A. O. Scott of The New York Times described Leia as "a foremother of Hermione Granger and Katniss Everdeen and of countless latter-day Disney princesses. She also foretold the recent, somewhat belated feminist turn in the Star Wars cycle itself".[121]

text: Fisher herself described Leia as a "huge" feminist icon, dismissing the suggestion that the character was ever a "damsel in distress". Fisher said of Leia, "She bossed them around. I don't know what your idea of distress is, but that wasn't it! And I wasn't some babe running through the galaxy with my tits bouncing around. So I wasn't threatening to women",[122] adding "I like Princess Leia. I like how she was feisty. I like how she killed Jabba the Hutt".[121]

text: Metal bikini[edit]

text: Leia's slave costume when she is held captive by Jabba the Hutt at the beginning of Return of the Jedi—made of brass and dubbed Leia's "Metal Bikini" or "Gold Bikini"—immediately made the character (and Fisher) a "generational sex symbol" celebrated by pin-up posters,[75][123] and later merchandising and cosplay.[76][93][94][124] The outfit has gained a cult following of its own.[124]

text: Rosenberg noted that "the costume has become culturally iconic in a way that has slipped loose from the context of the scenes in which Leia wore it and the things she does after she is forced into the outfit."[76] Philip Chien of the website Wired wrote in 2006, "There's no doubt that the sight of Carrie Fisher in the gold sci-fi swimsuit was burned into the sweaty subconscious of a generation of fanboys hitting puberty in the spring of 1983."[125] Acknowledging the opinion of some that the "Slave Leia" iconography tarnishes the character's position as "feminist hero",[76] Rosenberg argues:

text: Leia may be captive in these scenes, but she’s not exactly a compliant fantasy. Instead, she’s biding her time for the moment when she can put that fury into action, carrying out a carefully laid plan to rescue her lover. And when that moment comes, the bikini doesn’t condemn Leia to passivity. She rises, and uses the very chains that bind her to strangle the creature who tried to take away her power by turning her into a sex object.[76]

text: Science fiction filmmaker Letia Clouston concurs, saying "Sci-fi has had a long history of strong female characters. Yes, Princess Leia was in a gold bikini, but she was also the one who single-handedly killed Jabba. When you take into account movies and TV shows like Terminator, Aliens, Battlestar Galactica, and even video games like Metroid, you can see sci-fi has consistently promoted the strength of women more than any other genre."[75]

text: Family tree[edit]

text:
[hide]

v
t
e

Skywalker family tree

Aika
Lars[a]

Cliegg
Lars[b]

Shmi
Skywalker[c]

Jobal
Naberrie[d]

Ruwee
Naberrie[d]

Beru
Whitesun[e]

Owen
Lars[f]

Anakin
Skywalker[g][h]

Padmé
Amidala[i]

Bail
Organa[j][k]

Breha
Organa[l]

Luke
Skywalker[m][n]

Leia
Organa[o]

Han
Solo[p]

Ben
Solo[p][q]

References:

Jump up ^ Hidalgo, Pablo (2016). Star Wars Character Encyclopedia: Updated and Expanded.
Jump up ^ "Databank: Cliegg Lars". StarWars.com. Retrieved December 3, 2015.
Jump up ^ "Databank: Shmi Skywalker Lars". StarWars.com. Retrieved December 3, 2015.
^ Jump up to: a b Attack of the Clones (2002) and Revenge of the Sith (2005)
Jump up ^ "Databank: Beru Lars". StarWars.com. Retrieved December 3, 2015.
Jump up ^ "Databank: Owen Lars". StarWars.com. Retrieved December 3, 2015.
Jump up ^ "Databank: Anakin Skywalker". StarWars.com. Retrieved December 4, 2015.
Jump up ^ "Databank: Darth Vader". StarWars.com. Retrieved December 4, 2015.
Jump up ^ "Databank: Padmé Amidala". StarWars.com. Retrieved December 4, 2015.
Jump up ^ Adopted father of Leia Organa, as established in Revenge of the Sith (2005).
Jump up ^ "Databank: Bail Organa". StarWars.com. Retrieved December 3, 2015.
Jump up ^ Adopted mother of Leia Organa, as established in Revenge of the Sith (2005).
Jump up ^ "Databank: Luke Skywalker". StarWars.com. Retrieved December 4, 2015.
Jump up ^ In the alternate Star Wars expanded universe (Legends), Luke is married to Mara Jade and has a son, Ben Skywalker.
Jump up ^ "Databank: Princess Leia Organa". StarWars.com. Retrieved December 4, 2015.
^ Jump up to: a b The Force Awakens. 2015.
Jump up ^ In the alternate Star Wars expanded universe (Legends) continuity, Han and Leia have three children: Jaina, Jacen and Anakin Solo.


document_title: The Sound of Music (film)

question_text: where was the opening scene of the sound of music filmed

root

text: The Sound of Music (film)

text: Plot[edit]

text: In 1938, Maria is a free-spirited young Austrian woman studying to become a nun at Nonnberg Abbey in Salzburg. 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 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 with Rolfe, a telegram carrier she is in love with.

tag: p

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 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 is opposed to his children singing 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 the Captain and Maria 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

tag: ul

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

tag: div

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. I learned to love him more than I have ever loved before or after." 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.

tag: ol