document_title: The Sound of Music (film)

question_text: where is the last scene of the sound of music filmed

text: The Sound of Music (film)

text: Plot[edit]

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

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

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

text: While they are on their honeymoon, Max enters the children in the Salzburg Festival against their father's wishes. When they learn that Austria has been annexed by the Third Reich in the Anschluss, the couple return to their home, where a telegram awaits informing the Captain that he must report to the German Naval base at Bremerhaven to accept a commission in the German Navy. Strongly opposed to the Nazis and the Anschluss, the Captain tells his family they must leave Austria immediately. Many of the Von Trapp's friends are prepared to accept the new regime, including Rolf, 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 Rolf. Upon seeing Liesl, he hesitates raising the alarm long enough to allow the family time to flee, and the family is able to escape using the caretaker's car. When the soldiers attempt to pursue, they discover their cars will not start as two nuns have removed parts of the engines. The next morning, after driving to the Swiss border, the von Trapp family make their way on foot across the frontier into Switzerland to safety and freedom.

text: Cast[edit]

text:
Julie Andrews as Maria von Trapp
Christopher Plummer as Captain von Trapp

Bill Lee as Captain von Trapp's singing voice

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

text: Background[edit]

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

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

text: Production[edit]

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

text: Screenplay and pre-production[edit]

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

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

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

text: Casting and rehearsals[edit]

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

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

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

text: Filming and post-production[edit]

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

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

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

text: Release[edit]

text: Marketing[edit]

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

text: Critical response[edit]

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

Richard Rodgers

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

text: A few months after its United States release, The Sound of Music opened in 261 theaters overseas—the first American movie to be completely dubbed in a foreign language, both dialogue and music.[79] The German, French, Italian, and Spanish versions were completely dubbed, the Japanese version had Japanese dialogue with English songs, and other versions were released with foreign subtitles. The film was a popular success in every country it opened, except the two countries where the story originated, Austria and Germany.[80] In these countries, the film had to compete with the much-loved Die Trapp-Familie (1956), which provided the original inspiration for the Broadway musical, and its sequel Die Trapp-Familie in Amerika (1958)—both films still widely popular in German-speaking Europe and considered the authoritative von Trapp story.[80] Austrians took exception to the liberties taken by the filmmakers with regard to the costumes, which did not reflect traditional style, and the replacement of traditional Austrian folk songs with Broadway show tunes.[80] The film's Nazi theme was especially unpopular in Germany, where the Munich branch manager for 20th Century Fox approved the unauthorized cutting of the entire third act of the film following the wedding sequence—the scenes showing Salzburg following the Anschluss. Robert Wise and the studio intervened, the original film was restored, and the branch manager was fired.[81] The Sound of Music has never been popular in Austria and Germany.[82]

text: Box office[edit]

text: The Sound of Music is one of the most commercially successful films of all time.[83] 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.[84] 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.[85] Overseas, The Sound of Music broke previous box-office records in twenty-nine countries,[86] 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.[86] By November 1966, The Sound of Music had become the highest-grossing film of all-time,[86] 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.[88] It was the first film to gross over $100 million.[89] The film was re-released in 1973,[90][91] and increased its North American rentals to $78.4 million.[92] By the end of the 1970s, it was ranked seventh in all time North American rentals, having earned $79 million.[93] The film's re-release in 1990[91] 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.[94][95] The Sound of Music eventually earned a total domestic gross of $163,214,076, and a total worldwide gross of $286,214,076.[96] Adjusted for inflation, the film earned about $2.366 billion at 2014 prices—the fifth highest-grossing film of all time.[94][97]

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.[98] 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.[98]

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.[98] 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."[99]

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.[98] Maria and Georg married for practical reasons, rather than love and affection for each other. Georg needed a mother for his children, and Maria needed the security of a husband and family once she decided to leave the abbey. "I really and truly was not in love," Maria wrote in her memoir, "I liked him but didn't love him. However, I loved the children, so in a way I really married the children." They were married in 1927, not in 1938 as depicted in the film, and the couple had been married for over a decade by the time of the Anschluss and had two of their three children together by that time. Maria later acknowledged that she grew to love Georg over time and enjoyed a happy marriage.[98]

text: The von Trapp family lost most of its wealth during the worldwide depression of the early 1930s, when the Austrian national bank folded.[98] 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.[100] 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.[98]

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.[98] 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.[98] 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.[98] 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.[101]

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.[102][103]

text: The album reached the number one position on the Billboard 200 that year in the United States.[104][105] It remained in the top ten for 109 weeks, from May 1, 1965 to July 16, 1966,[106][107] and remained on the Billboard 200 chart for 238 weeks.[104] 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.[108] It also stayed 73 weeks on the Norwegian charts, becoming the seventh best-charting album of all time in that country.[109] In 2015, Billboard named the album the second greatest album of all time.[110][111]

text: The album has been reissued several times, including anniversary editions with additional tracks in 1995, 2000, 2005, 2010 and 2015.[105]

text: Accolades[edit]

text: Awards and nominations[edit]

text:
Award
Category
Nominee
Result
Ref

Academy Awards
Best Picture
Robert Wise
Won
[112]

Best Director
Robert Wise
Won
[112]

Best Actress in a Leading Role
Julie Andrews
Nominated
[112]

Best Actress in a Supporting Role
Peggy Wood
Nominated
[112]

Best Music (Scoring of Music – Adaptation or Treatment)
Irwin Kostal
Won
[112]

Best Cinematography (Color)
Ted D. McCord
Nominated
[112]

Best Art Direction (Color)
Boris Leven (art direction);
Walter M. Scott and Ruby R. Levitt (set decoration)
Nominated
[112]

Best Costume Design (Color)
Dorothy Jeakins
Nominated
[112]

Best Sound Recording
James Corcoran and Fred Hynes
Won
[112]

Best Film Editing
William H. Reynolds
Won
[112]

BAFTA Awards
Best British Actress
Julie Andrews
Nominated
[113]

Directors Guild of America
Outstanding Directorial Achievement in Motion Pictures
Robert Wise
Won
[114]

Golden Globe Awards
Best Motion Picture – Musical or Comedy
Robert Wise
Won
[114]

Best Director – Motion Picture
Robert Wise
Nominated
[114]

Best Motion Picture Actress – Musical or Comedy
Julie Andrews
Won
[114]

Best Supporting Actress – Motion Picture
Peggy Wood
Nominated
[114]

Laurel Awards
General Entertainment
The Sound of Music
Won
[115]

Musical Performance – Female
Julie Andrews
Won
[115]

National Board of Review
Top Ten Films of 1965
The Sound of Music
Won
[114]

New York Film Critics Circle
Best Actress
Julie Andrews
2nd place
[115]

Writers Guild of America
Best Written American Musical
Ernest Lehman
Won
[115]

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[116]
AFI's 100 Years...100 Movies (10th Anniversary Edition) – No. 40[117]
AFI's 100 Years...100 Cheers – No. 41[118]
AFI's 100 Years of Musicals – No. 4[119]
AFI's 100 Years...100 Passions – No. 27[120]
AFI's 100 Years...100 Songs:

"The Sound of Music" – No. 10[121]
"My Favorite Things" – No. 64[121]
"Do-Re-Mi" – No. 88[121]

text: Legacy[edit]

text: In 1966, American Express created the first Sound of Music guided tour in Salzburg.[122] 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.[122] 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.[108][123] 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.[123] In July 2000, Sing-along Sound of Music shows opened in Boston and Austin, Texas.[123] Some audience members dressed up as cast members and interacted with the action shown on the screen.[123] 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).[124] Sing-along Sound of Music screenings have since become an international phenomenon.[125]

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".[83] The Academy Film Archive preserved The Sound of Music in 2003.[126]

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.[127] The movie was not shown again until NBC acquired the broadcast rights and telecast the film on February 11, 1979.[128] NBC continued to air the film annually for twenty years.[127] 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.[129]

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.[130]

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.[131] The film is often included in box sets with other Rodgers & Hammerstein film adaptations.[131] A 40th anniversary DVD, with "making of" documentaries and special features, was released on November 15, 2005.[131] The film made its debut issue on Blu-ray Disc on November 2, 2010, for its 45th anniversary.[131][132][133] 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.[131][134] 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.[135]

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


document_title: End of the Beginning (song)

question_text: who wrote the song end of the beginning

question_tokens: who wrote the song end of the beginning

root

text: End of the Beginning (song)

text:
"End of the Beginning"

Cover of the 2013 promotional CD single

Single by Black Sabbath

from the album 13

Released
15 May 2013

Recorded
c. August 2012 – January 2013

Length
8:07

Label
Republic

Songwriter(s)
Geezer Butler, Tony Iommi, Ozzy Osbourne

Producer(s)
Rick Rubin

Black Sabbath singles chronology

"God Is Dead?"
(2013)
"End of the Beginning"
(2013)
"Loner"
(2013)

"God Is Dead?"
(2013)
"End of the Beginning"
(2013)
"Loner"
(2013)

Music video

"End of the Beginning" on YouTube

tag: table

text: "End of the Beginning" is a song by English rock band Black Sabbath featured on the album 13. According to lyricist Geezer Butler, the song deals with the fear of how "technology is going to completely take over the human race", inspired particularly by cloning: "It seems like eventually, people are going to clone the Beatles and stuff like that. I mean, it’s already happening now with a "Tupac" at Coachella, using holograms. But eventually I think they’ll start cloning people like the Beatles, and sending them out on endless tours."[1]

tag: p

text: "End of the Beginning" was premiered during the finale of season 13 of CSI: Crime Scene Investigation. The band guest starred in the episode,[2] and also appeared in a short interview prior to its release.[3] The song was first performed live on 20 April 2013, on the first of the two Auckland shows in New Zealand. The performance was part of their reunion tour.[4] It was also featured in the end credits of the film This Is the End. On 11 June, coinciding with the album's launch, Black Sabbath released a full performance video from the CSI season 13 finale of length 8:20. The single peaked at the number 38 in US Mainstream Rock chart.

text: Personnel[edit]

text:
Ozzy Osbourne – vocals
Tony Iommi – guitar
Geezer Butler – bass guitar
Brad Wilk – drums

tag: ul


document_title: Marx Brothers

question_text: what was the name of the marx brothers

question_tokens: what was the name of the marx brothers

text: Marx Brothers

text: Brothers' names, family background, and lifetimes[edit]

text: The Marx Brothers were born in New York City, the sons of Jewish emigrants from Germany and France. Their mother Miene "Minnie" Schoenberg (professionally known as Minnie Palmer, later the brothers' manager) was from Dornum in East Frisia, and their father Samuel ("Sam"; born "Simon"). Marx was a native of Alsace and worked as a tailor.[1][2] (His name was changed to Samuel Marx, and he was nicknamed "Frenchy".)[3] The family lived in the poor Yorkville section of New York City's Upper East Side, centered in the Irish, German and Italian quarters. The brothers are best known by their stage names:

text:
Stage name
Birth name
Born
Died
Age
Death

Chico
Leonard
000000001887-03-22-0000March 22, 1887
October 11, 1961
74
Arteriosclerosis

Harpo
Adolph (after 1911: Arthur)
000000001888-11-23-0000November 23, 1888
000000001964-09-28-0000September 28, 1964[5]
75
Heart failure

Groucho
Julius Henry
000000001890-10-02-0000October 2, 1890
000000001977-08-19-0000August 19, 1977[6]
86
Pneumonia

Gummo
Milton
000000001892-10-23-0000October 23, 1892[7]
000000001977-04-21-0000April 21, 1977[8]
84
Cerebral hemorrhage

Zeppo
Herbert Manfred
000000001901-02-25-0000February 25, 1901
000000001979-11-30-0000November 30, 1979[9]
78
Lung cancer

text: Another brother, Manfred ("Mannie"), the first-born son of Sam and Minnie, was born in 1886 and died in infancy:[10][11][12]

text: The Marx Brothers also had an older sister, actually a cousin, born in January 1885 who had been adopted by Minnie and Frenchie. Her name was Pauline, or "Polly".[14] Groucho talked about her in his 1972 Carnegie Hall concert.

text: Minnie Marx came from a family of performers. Her mother was a yodeling harpist and her father a ventriloquist; both were funfair entertainers. Around 1880, the family emigrated to New York City, where Minnie married Sam in 1884. During the early 20th century, Minnie helped her younger brother Abraham Elieser Adolf Schönberg (stage name Al Shean) to enter show business; he became highly successful on vaudeville and Broadway as half of the musical comedy double act Gallagher and Shean, and this gave the brothers an entree to musical comedy, vaudeville and Broadway at Minnie's instigation.[15] Minnie also acted as the brothers' manager, using the name Minnie Palmer so that agents did not realize that she was also their mother. All the brothers confirmed that Minnie Marx had been the head of the family and the driving force in getting the troupe launched, the only person who could keep them in order; she was said to be a hard bargainer with theatre management.[16][17]

text: Gummo and Zeppo both became successful businessmen: Gummo gained success through his agency activities and a raincoat business,[18] and Zeppo became a multi-millionaire through his engineering business.[19][20]

text: Stage beginnings[edit]

text: The brothers were from a family of artists, and their musical talent was encouraged from an early age. Harpo was particularly talented, learning to play an estimated six different instruments throughout his career. He became a dedicated harpist, which gave him his nickname.[21] Chico was an excellent pianist, Groucho a guitarist and singer, and Zeppo a vocalist.

text: They got their start in vaudeville, where their uncle Albert Schönberg performed as Al Shean of Gallagher and Shean. Groucho's debut was in 1905, mainly as a singer. By 1907, he and Gummo were singing together as "The Three Nightingales" with Mabel O'Donnell. The next year, Harpo became the fourth Nightingale and by 1910, the group briefly expanded to include their mother Minnie and their Aunt Hannah. The troupe was renamed "The Six Mascots".

text: Comedy[edit]

text: One evening in 1912, a performance at the Opera House in Nacogdoches, Texas, was interrupted by shouts from outside about a runaway mule. The audience hurried out to see what was happening. Groucho was angered by the interruption and, when the audience returned, he made snide comments at their expense, including "Nacogdoches is full of roaches" and "the jackass is the flower of Tex-ass". Instead of becoming angry, the audience laughed. The family then realized that it had potential as a comic troupe.[22] (However, in his autobiography Harpo Speaks, Harpo Marx stated that the runaway mule incident occurred in Ada, Oklahoma.[23] A 1930 article in the San Antonio Express newspaper stated that the incident took place in Marshall, Texas.[24])

text: The act slowly evolved from singing with comedy to comedy with music. The brothers' sketch "Fun in Hi Skule" featured Groucho as a German-accented teacher presiding over a classroom that included students Harpo, Gummo, and Chico. The last version of the school act was titled Home Again and was written by their uncle Al Shean. The Home Again tour reached Flint, Michigan in 1915, where 14-year-old Zeppo joined his four brothers for what is believed to be the only time that all five Marx Brothers appeared together on stage.[25] Gummo then left to serve in World War I, reasoning that "anything is better than being an actor!"[26] Zeppo replaced him in their final vaudeville years and in the jump to Broadway, and then to Paramount films.

text: During World War I, anti-German sentiments were common, and the family tried to conceal its German origin. Mother Minnie learned that farmers were excluded from the draft rolls, so she purchased a 27-acre (110,000 m2) poultry farm near Countryside, Illinois — but the brothers soon found that chicken ranching was not in their blood.[27] During this time, Groucho discontinued his "German" stage personality.

text: By this time, "The Four Marx Brothers" had begun to incorporate their unique style of comedy into their act and to develop their characters. Both Groucho's and Harpo's memoirs say that their now-famous on-stage personae were created by Al Shean. Groucho began to wear his trademark greasepaint mustache and to use a stooped walk. Harpo stopped speaking onstage and began to wear a red fright wig and carry a taxi-cab horn. Chico spoke with a fake Italian accent, developed off-stage to deal with neighborhood toughs, while Zeppo adopted the role of the romantic (and "peerlessly cheesy", according to James Agee)[28] straight man.

text: The on-stage personalities of Groucho, Chico, and Harpo were said to have been based on their actual traits. Zeppo, on the other hand, was considered the funniest brother offstage, despite his straight stage roles. He was the youngest and had grown up watching his brothers, so he could fill in for and imitate any of the others when illness kept them from performing. "He was so good as Captain Spaulding [in Animal Crackers] that I would have let him play the part indefinitely, if they had allowed me to smoke in the audience," Groucho recalled. (Zeppo stood in for Groucho in the film version of Animal Crackers. Groucho was unavailable to film the scene in which the Beaugard painting is stolen, so the script was contrived to include a power failure, which allowed Zeppo to play the Spaulding part in near-darkness.)[29] In December 1917 the Marx brothers were noted in an advertisement playing in a musical comedy act "Home Again".[30]

text: By the 1920s, the Marx Brothers had become one of America's favorite theatrical acts, with their sharp and bizarre sense of humor. They satirized high society and human hypocrisy, and they became famous for their improvisational comedy in free-form scenarios. A famous early instance was when Harpo arranged to chase a fleeing chorus girl across the stage during the middle of a Groucho monologue to see if Groucho would be thrown off. However, to the audience's delight, Groucho merely reacted by commenting, "First time I ever saw a taxi hail a passenger". When Harpo chased the girl back in the other direction, Groucho calmly checked his watch and ad-libbed, "The 9:20's right on time. You can set your watch by the Lehigh Valley."

text: The brothers' vaudeville act had made them stars on Broadway under Chico's management and with Groucho's creative direction—first with the musical revue I'll Say She Is (1924–1925) and then with two musical comedies: The Cocoanuts (1925–1926) and Animal Crackers (1928–1929). Playwright George S. Kaufman worked on the last two and helped sharpen the brothers' characterizations.

text: Out of their distinctive costumes, the brothers looked alike, even down to their receding hairlines. Zeppo could pass for a younger Groucho, and played the role of his son in Horse Feathers. A scene in Duck Soup finds Groucho, Harpo, and Chico all appearing in the famous greasepaint eyebrows, mustache, and round glasses while wearing nightcaps. The three are indistinguishable, enabling them to carry off the "mirror scene" perfectly.

text: Origin of the stage names[edit]

text: The stage names of the brothers (except Zeppo) were coined by monologist Art Fisher[28] during a poker game in Galesburg, Illinois, based both on the brothers' personalities and Gus Mager's Sherlocko the Monk, a popular comic strip of the day that included a supporting character named "Groucho".[31] As Fisher dealt each brother a card, he addressed him, for the very first time, by the names they kept for the rest of their lives.

text: The reasons behind Chico's and Harpo's stage names are undisputed, and Gummo's is fairly well established. Groucho's and Zeppo's are far less clear. Arthur was named Harpo because he played the harp, and Leonard became Chico (pronounced "Chick-o") because he was, in the slang of the period, a "chicken chaser". ("Chickens"—later "chicks"—was period slang for women. "In England now," said Groucho, "they were called 'birds'.")[32]

text: In his autobiography, Harpo explained that Milton became Gummo because he crept about the theater like a gumshoe detective.[33] Other sources reported that Gummo was the family's hypochondriac, having been the sickliest of the brothers in childhood, and therefore wore rubber overshoes, called gumshoes, in all kinds of weather. Still others reported that Milton was the troupe's best dancer, and dance shoes tended to have rubber soles.[34] Groucho stated that the source of the name was Gummo wearing galoshes. Whatever the details, the name relates to rubber-soled shoes.

text: The reason that Julius was named Groucho is perhaps the most disputed. There are three explanations:

text:
Julius' temperament: Maxine, Chico's daughter and Groucho's niece, said in the documentary The Unknown Marx Brothers that Julius was named "Groucho" simply because he was grouchy most or all of the time. Robert B. Weide, a director known for his knowledge of Marx Brothers history, said in Remarks On Marx (a documentary short included with the DVD of A Night at the Opera) that, among the competing explanations, he found this one to be the most believable. Steve Allen said in Funny People that the name made no sense; Groucho might have been impudent and impertinent, but not grouchy—at least not around Allen. However, at the very end of his life, Groucho finally admitted that Fisher had named him Groucho because he was the "moody one".[35]
The grouch bag: This explanation appears in Harpo's biography; it was voiced by Chico in a TV appearance included on The Unknown Marx Brothers; and it was offered by George Fenneman, Groucho's sidekick on his TV game show You Bet Your Life. A grouch bag was a small drawstring bag worn around the neck in which a traveler could keep money and other valuables so that it would be very difficult for anyone to steal them. Most of Groucho's friends and associates stated that Groucho was extremely stingy, especially after losing all his money in the 1929 stock market crash, so naming him for the grouch bag may have been a comment on this trait. Groucho insisted that this was not the case in chapter six of his first autobiography:

text: I kept my money in a 'grouch bag'. This was a small chamois bag that actors used to wear around their neck to keep other hungry actors from pinching their dough. Naturally, you're going to think that's where I got my name from. But that's not so. Grouch bags were worn on manly chests long before there was a Groucho.[36]

text: Groucho's explanation: Groucho himself insisted that he was named for a character in the comic strip Knocko the Monk, which inspired the craze for nicknames ending in "o"; in fact, there was a character in that strip named "Groucho". However, he is the only Marx or Marx associate who defended this theory, and as he is not an unbiased witness, few biographers take the claim seriously.

text: Herbert was not nicknamed by Art Fisher, since he did not join the act until Gummo had departed. As with Groucho, three explanations exist for Herbert's name "Zeppo":

text:
Harpo's explanation: Harpo said in Harpo Speaks! that the brothers had named Herbert for Mr. Zippo, a chimpanzee that was part of another performer's act. Herbert found the nickname very unflattering, and when it came time for him to join the act, he put his foot down and refused to be called "Zippo". The brothers compromised on "Zeppo".
Chico's explanation: Chico never wrote an autobiography and gave fewer interviews than his brothers, but his daughter Maxine said in The Unknown Marx Brothers that, when the brothers lived in Chicago, a popular style of humor was the "Zeke and Zeb" joke, which made fun of slow-witted Midwesterners in much the same way that Boudreaux and Thibodeaux jokes mock Cajuns and Ole and Lena jokes mock Minnesotans. One day, Chico returned home to find Herbert sitting on the fence. Herbert greeted him by saying "Hi, Zeke!" Chico responded with "Hi, Zeb!" and the name stuck. The brothers thereafter called him "Zeb" and, when he joined the act, they floated the idea of "Zebbo", eventually preferring "Zeppo".
Groucho's explanation: In a tape-recorded interview excerpted on The Unknown Marx Brothers, Groucho said that Zeppo was so named because he was born when the first zeppelins started crossing the ocean. He stated this in his Carnegie Hall concert, around 1972. The first zeppelin flew in July 1900, and Herbert was born seven months later in February 1901. However, the first transatlantic zeppelin flight was not until 1924, long after Herbert's birth.

text: Maxine Marx reported in The Unknown Marx Brothers that the brothers listed their real names (Julius, Leonard, Adolph, Milton, and Herbert) on playbills and in programs, and only used the nicknames behind the scenes, until Alexander Woollcott overheard them calling one another by the nicknames. He asked them why they used their real names publicly when they had such wonderful nicknames, and they replied, "That wouldn't be dignified." Woollcott answered with a belly laugh. Woollcott did not meet the Marx Brothers until the premiere of I'll Say She Is, which was their first Broadway show, so this would mean that they used their real names throughout their vaudeville days, and that the name "Gummo" never appeared in print during his time in the act. Other sources reported that the Marx Brothers went by their nicknames during their vaudeville era, but briefly listed themselves by their given names when I'll Say She Is opened because they were worried that a Broadway audience would reject a vaudeville act if they were perceived as low class.[37]

text: Motion pictures[edit]

text: Paramount[edit]

text: The Marx Brothers' stage shows became popular just as motion pictures were evolving to "talkies". They signed a contract with Paramount Pictures and embarked on their film career at Paramount's studios in New York City's Astoria section. Their first two released films (after an unreleased short silent film titled Humor Risk) were adaptations of the Broadway shows The Cocoanuts (1929) and Animal Crackers (1930). Both were written by George S. Kaufman and Morrie Ryskind. Production then shifted to Hollywood, beginning with a short film that was included in Paramount's twentieth anniversary documentary, The House That Shadows Built (1931), in which they adapted a scene from I'll Say She Is. Their third feature-length film, Monkey Business (1931), was their first movie not based on a stage production.

text: Horse Feathers (1932), in which the brothers satirized the American college system and Prohibition, was their most popular film yet, and won them the cover of Time magazine.[38] It included a running gag from their stage work, in which Harpo produces a ludicrous array of props from inside his coat, including a wooden mallet, a fish, a coiled rope, a tie, a poster of a woman in her underwear, a cup of hot coffee, a sword; and, just after Groucho warns him that he "can't burn the candle at both ends," a candle burning at both ends.

text: During this period Chico and Groucho starred in a radio comedy series, Flywheel, Shyster and Flywheel. Though the series was short lived, much of the material developed for it was used in subsequent films. The show's scripts and recordings were believed lost until copies of the scripts were found in the Library of Congress in the 1980s. After publication in a book they were performed with Marx Brothers impersonators for BBC Radio.[39]

text: Their last Paramount film, Duck Soup (1933), directed by the highly regarded Leo McCarey, is the highest rated of the five Marx Brothers films on the American Film Institute's "100 years ... 100 Movies" list. It did not do as well financially as Horse Feathers, but was the sixth-highest grosser of 1933. The film sparked a dispute between the Marxes and the village of Fredonia, New York. "Freedonia" was the name of a fictional country in the script, and the city fathers wrote to Paramount and asked the studio to remove all references to Freedonia because "it is hurting our town's image". Groucho fired back a sarcastic retort asking them to change the name of their town, because "it's hurting our picture."[citation needed]

text: MGM, RKO, and United Artists[edit]

text: After expiration of the Paramount contract Zeppo left the act to become an agent. He and brother Gummo went on to build one of the biggest talent agencies in Hollywood, helping the likes of Jack Benny and Lana Turner get their starts. Groucho and Chico did radio, and there was talk of returning to Broadway. At a bridge game with Chico, Irving Thalberg began discussing the possibility of the Marxes joining Metro-Goldwyn-Mayer. They signed, now billed as "Groucho, Chico, Harpo, Marx Bros."[40]

text: Unlike the free-for-all scripts at Paramount, Thalberg insisted on a strong story structure that made the brothers more sympathetic characters, interweaving their comedy with romantic plots and non-comic musical numbers, and targeting their mischief-making at obvious villains. Thalberg was adamant that scripts include a "low point", where all seems lost for both the Marxes and the romantic leads. He instituted the innovation of testing the film's script before live audiences before filming began, to perfect the comic timing, and to retain jokes that earned laughs and replace those that did not. Thalberg restored Harpo's harp solos and Chico's piano solos, which had been omitted from Duck Soup.

text: The first Marx Brothers/Thalberg film was A Night at the Opera (1935), a satire on the world of opera, where the brothers help two young singers in love by throwing a production of Il Trovatore into chaos. The film—including its famous scene where an absurd number of people crowd into a tiny stateroom on a ship—was a great success, and was followed two years later by an even bigger hit, A Day at the Races (1937), in which the brothers cause mayhem in a sanitarium and at a horse race. The film features Groucho and Chico's famous "Tootsie Frootsie Ice Cream" sketch. In a 1969 interview with Dick Cavett, Groucho said that the two movies made with Thalberg were the best that they ever produced. Despite the Thalberg films' success, the brothers left MGM in 1937; Thalberg had died suddenly on September 14, 1936, two weeks after filming began on A Day at the Races, leaving the Marxes without an advocate at the studio.

text: After a short experience at RKO (Room Service, 1938), the Marx Brothers returned to MGM and made three more films: At the Circus (1939), Go West (1940) and The Big Store (1941). Prior to the release of The Big Store the team announced they were retiring from the screen. Four years later, however, Chico persuaded his brothers to make two additional films, A Night in Casablanca (1946) and Love Happy (1949), to alleviate his severe gambling debts. Both pictures were released by United Artists.

text: Later years[edit]

text: From the 1940s onward Chico and Harpo appeared separately and together in nightclubs and casinos. Chico fronted a big band, the Chico Marx Orchestra (with 17-year-old Mel Tormé as a vocalist). Groucho made several radio appearances during the 1940s and starred in You Bet Your Life, which ran from 1947 to 1961 on NBC radio and television. He authored several books, including Groucho and Me (1959), Memoirs of a Mangy Lover (1964) and The Groucho Letters (1967).

text: Groucho and Chico briefly appeared together in a 1957 short film promoting The Saturday Evening Post entitled "Showdown at Ulcer Gulch," directed by animator Shamus Culhane, Chico's son-in-law. Groucho, Chico, and Harpo worked together (in separate scenes) in The Story of Mankind (1957). In 1959, the three began production of Deputy Seraph, a TV series starring Harpo and Chico as blundering angels, and Groucho (in every third episode) as their boss, the "Deputy Seraph." The project was abandoned when Chico was found to be uninsurable (and incapable of memorizing his lines) due to severe arteriosclerosis. On March 8 of that year, Chico and Harpo starred as bumbling thieves in The Incredible Jewel Robbery, a half-hour pantomimed episode of the General Electric Theater on CBS. Groucho made a cameo appearance—uncredited, because of constraints in his NBC contract—in the last scene, and delivered the only line of dialogue ("We won't talk until we see our lawyer!").

text: According to a September 1947 article in Newsweek, Groucho, Harpo, Chico and Zeppo all signed to appear as themselves in a biopic entitled The Life and Times of the Marx Brothers. In addition to being a non-fiction biography of the Marxes, the film would have featured the brothers reenacting much of their previously unfilmed material from both their vaudeville and Broadway eras. The film, had it been made, would have been the first performance by the Brothers as a quartet since 1933.

text: The five brothers made only one television appearance together, in 1957, on an early incarnation of The Tonight Show called Tonight! America After Dark, hosted by Jack Lescoulie. Five years later (October 1, 1962) after Jack Paar's tenure, Groucho made a guest appearance to introduce the Tonight Show's new host, Johnny Carson.[41]

text: Around 1960, the acclaimed director Billy Wilder considered writing and directing a new Marx Brothers film. Tentatively titled A Day at the U.N., it was to be a comedy of international intrigue set around the United Nations building in New York. Wilder had discussions with Groucho and Gummo, but the project was put on hold because of Harpo's ill-health and abandoned when Chico died in 1961.[42] He was 74. Three years later, on September 28, 1964, Harpo died at the age of 75 of a heart attack one day after heart surgery.

text: In 1966 Filmation produced a pilot for a Marx Brothers cartoon. Groucho's voice was supplied by Pat Harrington Jr. and other voices were done by Ted Knight and Joe Besser.[43][44]

text: In 1970, the four Marx Brothers had a brief reunion of sorts in the animated ABC television special The Mad, Mad, Mad Comedians, produced by Rankin-Bass animation (of Rudolph the Red-Nosed Reindeer fame). The special featured animated reworkings of various famous comedians' acts, including W. C. Fields, Jack Benny, George Burns, Henny Youngman, the Smothers Brothers, Flip Wilson, Phyllis Diller, Jack E. Leonard, George Jessel and the Marx Brothers. Most of the comedians provided their own voices for their animated counterparts, except for Fields and Chico Marx (both had died), and Zeppo Marx (who had left show business in 1933). Voice actor Paul Frees filled in for all three (no voice was needed for Harpo). The Marx Brothers' segment was a reworking of a scene from their Broadway play I'll Say She Is, a parody of Napoleon that Groucho considered among the brothers' funniest routines. The sketch featured animated representations, if not the voices, of all four brothers. Romeo Muller is credited as having written special material for the show, but the script for the classic "Napoleon Scene" was probably supplied by Groucho.

text: Impact on modern entertainment[edit]

text: On January 16, 1977, the Marx Brothers were inducted into the Motion Picture Hall of Fame. With the deaths of Gummo in April 1977, Groucho in August 1977, and Zeppo in November 1979, the brothers were gone. But their impact on the entertainment community continues well into the 21st century.

text: Many television shows and movies have used Marx Brothers references. Animaniacs and Tiny Toons, for example, have featured Marx Brothers jokes and skits. Hawkeye Pierce (Alan Alda) on M*A*S*H occasionally put on a fake nose and glasses, and, holding a cigar, did a Groucho impersonation to amuse patients recovering from surgery. Early episodes also featured a singing and off-scene character named Captain Spaulding as a tribute.

text: Bugs Bunny impersonated Groucho Marx in the 1947 cartoon Slick Hare (with Elmer Fudd dressing up as Harpo and chasing him with a cleaver) and in a later cartoon he again impersonated Groucho hosting a TV show called "You Beat Your Wife," asking Elmer Fudd if he had stopped beating his wife. Tex Avery's cartoon Hollywood Steps Out (1941) featured appearances by Harpo and Groucho. They appeared, sometimes with Chico and Zeppo caricatured, in cartoons starring Mickey Mouse, Flip the Frog and others. In the Airwolf episode 'Condemned', four anti-virus formulae for a deadly plague were named after the four Marx Brothers.

text: In All in the Family, Rob Reiner often did imitations of Groucho, and Sally Struthers dressed as Harpo in one episode in which she (as Gloria Stivic) and Rob (as Mike Stivic) were going to a Marx Brothers film festival, with Reiner dressing as Groucho. Gabe Kaplan did many Groucho imitations on his sit-com Welcome Back, Kotter and Robert Hegyes sometimes imitated both Chico and Harpo on the show. In Woody Allen's film Hannah and Her Sisters (1986), Woody's character, after an unsuccessful suicide attempt, is inspired to go on living after seeing a revival showing of Duck Soup. In Manhattan (1979), he names the Marx Brothers as something that makes life worth living. In an episode of The Mary Tyler Moore Show Murray calls the new station owner at home late at night to complain when the song "Hooray for Captain Spaulding" is cut from a showing of Animal Crackers because of the new owners' policy to cut more and more from shows to sell more ad time, putting his job on the line.

text: In Everyone Says I Love You (1996), Woody Allen and Goldie Hawn dress as Groucho for a Marx Brothers celebration in France, and the song "Hooray for Captain Spaulding", from Animal Crackers, is performed, with various actors dressed as the brothers, striking poses famous to Marx fans. (The film itself is named after a song from Horse Feathers, a version of which plays over the opening credits.)

text: Harpo Marx appeared as himself in a sketch on I Love Lucy in which he and Lucille Ball reprised the mirror routine from Duck Soup, with Lucy dressed up as Harpo. Lucy had worked with the Marxes when she appeared in a supporting role in an earlier Marx Brothers film, Room Service. Chico once appeared on I've Got a Secret dressed up as Harpo; his secret was shown in a caption reading, "I'm pretending to be Harpo Marx (I'm Chico)". The Marx Brothers were spoofed in the second act of the Broadway Review A Day in Hollywood/A Night in the Ukraine.

text: In the 1989 film Indiana Jones and the Last Crusade, Sean Connery tells Harrison Ford he should have sent his diary "to the Marx Brothers" rather than entrusting it to Harrison's Indiana Jones character.

text: Filmography[edit]

text: Films with the four Marx Brothers:

text:
Humor Risk (1921), previewed once and never released; thought to be lost
The Cocoanuts (1929), released by Paramount Pictures; based on a 1925 Marx Brothers Broadway musical
Animal Crackers (1930), released by Paramount; based on a 1928 Marx Brothers Broadway musical
The House That Shadows Built (1931), released by Paramount (short subject)
Monkey Business (1931), released by Paramount
Horse Feathers (1932), released by Paramount
Duck Soup (1933), released by Paramount

text: Films with the three Marx Brothers (post-Zeppo):

text:
A Night at the Opera (1935), released by Metro-Goldwyn-Mayer
A Day at the Races (1937), released by MGM
Room Service (1938), released by RKO Radio Pictures; based on a 1937 Broadway play that did not star the Marx Brothers
At the Circus (1939), released by MGM
Go West (1940), released by MGM
The Big Store (1941), released by MGM (intended to be their last film)
A Night in Casablanca (1946), released by United Artists
Love Happy (1949), released by United Artists
The Story of Mankind (1957), released by Warner Bros. (not a Marx Brothers film, but the three brothers perform separate cameos)
The Incredible Jewel Robbery (1959), an episode of the TV series General Electric Theater starring Harpo and Chico with an uncredited Groucho in a cameo role

text: Solo endeavors:

text:
Groucho:

Copacabana (1947), released by United Artists
Mr. Music (1951), released by Paramount
Double Dynamite (1951), released by RKO
A Girl in Every Port (1952), released by RKO
Will Success Spoil Rock Hunter? (1957), released by 20th Century Fox (uncredited)
The Mikado (1960), made for television
Skidoo (1968), released by Paramount.

Harpo:

Too Many Kisses (1925), released by Paramount
La Fiesta de Santa Barbara (1935) released by MGM
Stage Door Canteen (1943), released by United Artists (cameo)

Chico:

Papa Romani (1950), television pilot

Zeppo:

A Kiss in the Dark (1925), released by Paramount (cameo)

text: Characters[edit]

text:
Film
Year
Groucho
Chico
Harpo
Zeppo

Humor Risk
1921
The Villain
The Italian
Watson, Detective
The Love Interest

Too Many Kisses
1925

The Village Peter Pan

The Cocoanuts
1929
Mr. Hammer
Chico
Harpo
Jamison

Animal Crackers
1930
Captain Geoffrey T. Spaulding
Signor Emmanuel Ravelli
The Professor
Horatio Jamison

The House That Shadows Built
1931
Caesar's Ghost
Tomalio
The Merchant of Weiners
Sammy Brown

Monkey Business
1931
Groucho
Chico
Harpo
Zeppo

Horse Feathers
1932
Professor Quincy Adams Wagstaff
Baravelli
Pinky
Frank Wagstaff

Duck Soup
1933
Rufus T. Firefly
Chicolini
Pinky
Lt. Bob Roland

A Night at the Opera
1935
Otis B. Driftwood
Fiorello
Tomasso

A Day at the Races
1937
Dr. Hugo Z. Hackenbush
Tony
Stuffy

Room Service
1938
Gordon Miller
Harry Binelli
Faker Englund

At the Circus
1939
J. Cheever Loophole
Antonio Pirelli
Punchy

Go West
1940
S. Quentin Quale
Joe Panello
Rusty Panello

The Big Store
1941
Wolf J. Flywheel
Ravelli
Wacky

Stage Door Canteen
1943

Harpo

A Night in Casablanca
1946
Ronald Kornblow
Corbaccio
Rusty

Copacabana
1947
Lionel Q. Devereaux

Love Happy
1949
Sam Grunion
Faustino the Great
Harpo

Mr. Music
1951
Himself

Double Dynamite
1951
Emile J. Keck

A Girl in Every Port
1952
Benjamin Franklin 'Benny' Linn

Will Success Spoil Rock Hunter?
1957
George Schmidlap

The Story of Mankind
1957
Peter Minuit
Monk
Sir Isaac Newton

The Incredible Jewel Robbery
1959
Suspect in a police lineup
Nick
Harry

The Mikado
1960
Ko-Ko

Skidoo
1968
God

text: Legacy[edit]

text: Awards and honors[edit]

text: The Marx Brothers were collectively named #20 on AFI's list of the Top 25 American male screen legends of Classic Hollywood. They are the only group to be so honored.

text: The "Sweathogs" of the ABC-TV series Welcome Back Kotter (John Travolta, Robert Hegyes, Lawrence Hilton-Jacobs, and Ron Palillo) patterned much of their on-camera banter in that series after the Marx Brothers.[45][46][47] Series star Gabe Kaplan was reputedly a big Marx Brothers fan.


document_title: Puppy Dog Pals

question_text: who does the voice of rolly on puppy dog pals

text: Puppy Dog Pals

text: Plot[edit]

text: Puppy Dog Pals is about brothers[1] Bingo and Rolly, two pug puppies who have fun traveling around their neighborhood and the world when their owner Bob leaves home. They also have a cat sister named Hissy, and a robot dog named Automatic Doggy Robotic Friend or ARF.

text: Characters[edit]

text: Main[edit]

text:
Bingo (voiced by Issac Ryan Brown) is a black pug with a blue collar. He is the leader of the two and is Rolly's older brother.
Rolly (voiced by Sam Lavagnino) is a fawn pug with a red collar. He isn't as smart as Bingo, and is very silly. He is Bingo's younger brother. In "Bob Loves Mona", he starts a bad habit of chewing everything he can find.
Bob (voiced by Harland Williams) is the owner of Bingo, Rolly, Hissy, and A.R.F. He works as an inventor.
Hissy (voiced by Jessica DiCicco) is a sarcastic purple cat. In some episodes, she ends up going along with Bingo and Rolly on their missions. These episodes are: "A Pyramaid Scheme", "Hissy's Big Day", "Bob Loves Mona", "Puzzling Pugs", "A Seat at the Theatre", and "Return to the Pumpkin Patch", She is the first and currently only female character to sing.
A.R.F. (fully known as Auto-Doggy Robotic Friend; voiced by Tom Kenny) is a robotic dog that Bob invented. He first appears in the episode "A.R.F.". Later in the series, he is updated by Bob in "Go, Dog, Go!"

text: Recurring[edit]

text:
Cupcake (voiced by Jill Talley) is a pink puppy who does not like Bingo and Rolly. She is the main antagonist of the series.
Rufus (voiced by Leslie David Baker) is the bulldog with a black collar who is always with Cupcake. He cannot speak much except growl and mutter. He has been known to chase Bingo and Rolly multiple times, but in "Haunted Howl-O-Ween", he helped them instead.
Captain Dog (voiced by Patrick Warburton) is the star of the pups' favorite television show.
Frank Exposition (voiced by Leslie David Baker) is a man who is usually seen vacationing with his wife during Bingo and Rolly's missions. In "A Pyramid Scheme" he gets tangled in ribbons, which leads to Bingo and Rolly mistaking him for a mummy.
Esther Exposition (voiced by Cheri Oteri) is Frank's wife. In "Hissy's Big Day", she is shown to have a pet iguana named Iggy who didn’t appear again until "The Great Pug-scape".
Daisy (voiced by Yvette Nicole Brown) is a kind German Shepherd. She first appeared in "History Mystery". She appeared again in "A Very Pug Christmas".
Bulworth (voiced by Huey Lewis) is the junkyard dog.
Hedgie the Hedgehog (voiced by Jack McBrayer) is a hedgehog who first appeared in “Winter Wonder Pug”.
The Go-Long Retriever (voiced by Harland Williams) is the toy stick and one of Bob's inventions that Bingo and Rolly tried to get rid of. It doesn't say anything other than "Play fetch with me!"
Johnathan (voiced by Jeff Bennett) is Bingo and Rolly's wisecracking seagull friend.
Cagey (voiced by Jeff Bennett) is Bingo and Rolly's guinea pig friend who used to live at the Pet Store, but is now Chloe’s pet.
Crumpet (voiced by Jeff Bennett) is the royal Jack Russell Terrier dog.
Whaley (voiced by Jessica DiCicco) is the whale that Bingo and Rolly helped jump over the other side of the wall.
Dallie (voiced by Tom Kenny) is a dalmatian.
Jackie (voiced by Jill Talley) is an orange collie with a magenta bandanna.
Nelly (voiced by Grey DeLisle) is a bluebird who appears in "Polly Wants A Pug". She appears again in "Winter Wonder-Pug".
Miss Mudge (voiced by Alanna Ubach) is Snowflake's owner.
Guard Dog (voiced by Kevin Michael Richardson) is a Doberman who is friends with Bulworth.
Chloe (voiced by Emma Shannon) is a little girl who is Bob's neighbor.
Chloe's Mom (voiced by Tara Strong) is Chloe's mom.
Bob's Mom (voiced by Tress MacNeille) is an old lady who appears in two episodes: "Special Delivery" and "Your Royal Pug-Ness".
Bizzy the Beaver (voiced by Kevin Michael Richardson) is a beaver who lives in the forest.
Strider the Sheepdog (voiced by Mo Collins) is a fast-talking sheep herder who appears in the episodes, "Counting Sheep" and "Rhapsody in Pug".
Shockero (voiced by Kevin Michael Richardson) is a lavender Scotty dog.
Bark Knight (voiced by Gary Anthony Williams) is Captain Dog's sidekick.
Titus (voiced by Jeff Bennett) is a leopard who now owns Hissy's squeaky toy.
Harriet (voiced by Mo Collins) is a smart African elephant.
Barry (voiced by Jeff Bennett) is a giraffe who let Bingo, Rolly, and Hissy ride on his head.
Quinty Mcsquinty (voiced by Jeff Bennett) is an old basset hound who told Bingo and Rolly the legend of Ol' Snapper.
Ol' Snapper (voiced by Tom Kenny) is a turtle mistaken as a monster.
Baby (barks provided by Jessica DiCicco) is a huge Great Dane puppy.
Queen Kazoo (voiced by Alanna Ubach) is the star of Bob's favorite play.
Baboo (voiced by Gary Anthony Williams) is Queen Kazoo's dog.

text: Episodes[edit]

text:
No.
Title [4]
Directed by
Written by
Storyboards by
Original air date
Prod.
code [5]
U.S. viewers
(millions)

1a
"Hawaii Pug-Oh"
Scott Bern
Harland Williams
Paul Cohen
April 14, 2017 (2017-04-14)
101
1.39[6]

When Bob says he'd love to feel the sand on his toes, pug puppy brothers Bingo and Rolly go on a mission to Hawaii.

1b
"A.R.F."
Trevor Wall
Bob Smiley
James Gibson
April 14, 2017 (2017-04-14)
101
1.39[6]

Bob introduces the pups to A.R.F., a robotic dog that is programmed to clean up their messes.

2a
"The French Toast Connection"
Stephanie Arnett
Brendan Duffy
Kris Wimberly
April 14, 2017 (2017-04-14)
TBA
1.36[6]

Bingo and Rolly travel to France to get Bob some french toast.

2b
"Take Me Out to the Pug Game"
Scott Bern
Sean Coyle
Doris Umschaden
April 14, 2017 (2017-04-14)
TBA
1.36[6]

The pugs chase Bob's prized baseball across the city.

3a
"The Go-Long Retriever"
Stephanie Arnett
Jessica Carleton
Kris Wimberly
April 21, 2017 (2017-04-21)
TBA
0.99[7]

Bingo and Rolly try to get away from a self-fetching stick that begins chasing them.

3b
"Pot O' Pugs"
Scott Bern
Bob Smiley
Doris Umschaden
April 21, 2017 (2017-04-21)
TBA
0.99[7]

After Bob says he needs a pot of gold, the pups search for one at the end of a rainbow.

4a
"A Pyramid Scheme"
Trevor Wall
Jeff Rothpan
Julia Briemle
April 21, 2017 (2017-04-21)
TBA
1.05[7]

Bingo and Rolly travel to Egypt to find the missing Great Pyramids.

4b
"Special Delivery"
Stephanie Arnett
Bob Smiley
Otis Brayboy
April 21, 2017 (2017-04-21)
TBA
1.05[7]

The pugs try to deliver a Mother's Day card for Bob.

5a
"Design-A-Dog"
Scott Bern
Jessica Carleton
Paul Cohen
April 28, 2017 (2017-04-28)
TBA
0.91[8]

Bingo and Rolly accidentally chew Bob's childhood toy.

5b
"Ice, Ice Puggy"
Trevor Wall
Darrin Rose
James Gibson
April 28, 2017 (2017-04-28)
TBA
0.91[8]

When Bob runs out of ice, the pugs go to Antarctica to get him some.

6a
"Free Whaley"
Trevor Wall
Sean Tweedley
Julia Briemle
May 5, 2017 (2017-05-05)
106
1.05[9]

Bingo and Rolly help a baby whale that has been separated from her family.

6b
"Putting It Together"
Stephanie Arnett
Brendan Duffy
Otis Brayboy
May 5, 2017 (2017-05-05)
106
1.05[9]

The pugs retrace their steps to remember where they buried Bob's unicycle.

7a
"Hissy's Big Day"
Trevor Wall
Bill Fuller
Julia Briemle
May 12, 2017 (2017-05-12)
107
1.05[10]

After Hissy has had a bad morning, Bingo and Rolly try to make her feel better by taking her to their favorite places.

7b
"Go, Dog. Go!"
Stephanie Arnett
Bob Smiley
Otis Brayboy
May 12, 2017 (2017-05-12)
107
1.05[10]

The reprogrammed A.R.F. takes the pugs where they want to go but the pugs learn that the robotic dog isn't programmed to bring them back.

8a
"Pigs and Pugs"
Trevor Wall
Jessica Carleton
Bill Breneisen & Alfred Gimeno
May 19, 2017 (2017-05-19)
108
1.04[11]

Bob mistakes a mud-covered pig for Rolly and accidentally leaves him behind on the farm.

8b
"Bob Loves Mona"
Scott Bern
Joe Ansolabehere (story)
Jessica Carleton
Rudi Bloss
May 19, 2017 (2017-05-19)
108
1.04[11]

The pugs travel to the Great Wall of China to search for the missing Mona Lisa.

9a
"Don't Rain on my Pug-rade"
Trevor Wall
Bob Smiley
Arthur Valencia
June 16, 2017 (2017-06-16)
109
1.59[12]

When Bob can't leave his house to watch a parade, the pups enlist a family of ducks to march past the house.

9b
"Their Royal Pug-ness"
Stephanie Arnett
Bob Smiley
Otis Brayboy
June 16, 2017 (2017-06-16)
109
1.59[12]

Bingo and Rolly head to England to learn how to treat a queen.

10a
"Scuba-Doggies"
Scott Bern
Jessica Carleton (story)
Bob Smiley
Rudi Bloss
June 23, 2017 (2017-06-23)
110
1.25[13]

The pups go to The Great Barrier Reef to find Bob’s package that was lost at sea.

10b
"Walking the Bob"
Trevor Wall
Bob Smiley
Bill Breneisen
June 23, 2017 (2017-06-23)
110
1.25 [13]

The pups lead a blurry-visioned Bob home.

11a
"Hissy's Kitty"
Stephanie Arnett
Jessica Carleton
Kris Wimberly
July 7, 2017 (2017-07-07)
111
1.21[14]

When Bob brings home a lost kitty, Bingo and Rolly try find her a home.

11b
"Polly Wants a Pug"
Scott Bern
Michael Olson & Bob Smiley
Julia Briemle & Doris Umschaden
July 7, 2017 (2017-07-07)
111
1.21[14]

While in Florida, Bingo and Rolly search for an old friend of Bob's.

12a
"Leave it to Beavers"
Trevor Wall
Jessica Carleton
Julia Briemle
July 14, 2017 (2017-07-14)
112
1.35[15]

Bingo and Rolly try to build a dam to protect their doghouse from a rainstorm.

12b
"Counting Sheep"
Stephanie Arnett
Jessica Carleton
Otis Brayboy
July 14, 2017 (2017-07-14)
112
1.35[15]

When Bob says he'll count sheep to sleep, the pugs herd a flock of sheep into the backyard to help.

13a
"Captain Rolly"
Scott Bern
Brian Hall
Rudi Bloss
July 28, 2017 (2017-07-28)
113
1.20[16]

The pugs attend the Captain Dog fan party.

13b
"The Coolest Dogs in Town"
Trevor Wall
Brian Hall
Bill Breneisen
July 28, 2017 (2017-07-28)
113
1.20[16]

A.R.F takes Bingo and Rolly places to get cool.

14a
"Puzzling Pugs"
Stephanie Arnett
Harland Williams & Michael Olson (story)
Ashley Lenz
August 11, 2017 (2017-08-11)
TBA
1.25[17]

Bingo, Rolly, and Hissy find a leopard for Bob's puzzle after A.R.F tears it up.

14b
"Rhapsody in Pug"
Scott Bern
Amy Van Curen
Doris Umschaden
August 11, 2017 (2017-08-11)
TBA
1.25[17]

Bingo and Rolly go to a concert.

15a
"The Legend of Ol' Snapper"
Trevor Wall
Sean Coyle
Julia Briemle
August 25, 2017 (2017-08-25)
TBA
0.84[18]

Bob's fishing pole is stolen by a legendary creature.

15b
"Adventures in Puppy-Sitting"
Stephanie Arnett
Jessica Carleton
Otis Brayboy
August 25, 2017 (2017-08-25)
TBA
0.84[18]

The pugs are tasked to babysit a big dog that causes trouble around the town.

16a
"Bye Bye, Butterfly"
Trevor Wall
Jessica Carleton & Harland Williams
Ed Baker
September 22, 2017 (2017-09-22)
TBA
0.63[19]

Bingo and Rolly help a butterfly find a way back to her family.

16b
"A Seat at the Theatre"
Scott Bern
Jessica Carleton
Rudi Bloss
September 22, 2017 (2017-09-22)
TBA
0.63[19]

Bingo and Rolly try to take a seat to Bob's favorite play and try not to wake up Hissy at the same time.

17a
"Return to the Pumpkin Patch"
Scott Bern
Bob Smiley (story)
Amy Van Curen
Doris Umschaden
October 1, 2017 (2017-10-01)
TBA
0.97[20]

Bingo, Rolly and Hissy go to a pumpkin patch to find Bingo's collar after he loses it in the maze.

17b
"Haunted Howl-oween"
Stephanie Arnett
Amy Van Curen (story)
Jessica Carleton
Ashley Lenz
October 1, 2017 (2017-10-01)
TBA
0.97[20]

Bingo and Rolly go on a mission to find Chloe's Halloween Costume.

18a
"Close Encounters of a Pug Kind"
Trevor Wall
Brian Hall
Bill Breneisen
October 13, 2017 (2017-10-13)
TBA
0.84[21]

The pups go to a gathering of UFO enthusiasts to find someone from space and mistake a lost Chameleon for an alien.

18b
"History Mystery"
Stephanie Arnett
Amy Van Curen
Otis Brayboy
October 13, 2017 (2017-10-13)
TBA
0.84[21]

When the pups find a doggie toy that isn't theirs, they go on a mission to find its original owner.

19a
"Art for Pug's Sake"
Stephanie Arnett
Bob Smiley
Kris Wimberly
November 10, 2017 (2017-11-10)
TBA
0.94[22]

The pugs try to hang something of Bob's at a famous Italian art museum.

19b
"Winter Wonderpug"
Scott Bern
Bob Smiley
Doris Umschaden
November 10, 2017 (2017-11-10)
TBA
0.94[22]

Bingo and Rolly look for the first snowflake of the season while helping other animals prepare for winter.

20a
"A Very Pug Christmas"
Scott Bern
Jessica Carleton & Brian Hall (story)
Roger Dondis
December 1, 2017 (2017-12-01)
125
1.03[23]

On Christmas Eve, Bingo and Rolly help Santa search for Bob's Christmas present when it goes missing in the sleigh.

20b
"The Latke Kerfuffle"
Trevor Wall
Jessica Carleton
Bill Breneisen
December 1, 2017 (2017-12-01)
125
1.03[23]

Bingo and Rolly help Bob make latkes for their neighbor Chloe's Hanukkah party.

21a
"Puggy-ology"
Scott Bern
Jessica Carleton
Rudi Bloss
February 23, 2018 (2018-02-23)
TBA
0.72[24]

Bingo and Rolly help Bob's younger sister look for historical items.

21b
"Squirrels Just Wanna Have Fun"
Trevor Wall
Jean Ansolabehere
Bill Breneisen
February 23, 2018 (2018-02-23)
TBA
0.72[24]

Bingo and Rolly try to catch a squirrel who's been making noises in their house.

22a
"The Great Pug-scape"
Stephanie Arnett
Amy Van Curen
Kris Wimberly
March 9, 2018 (2018-03-09)
TBA
0.71[25]

After Hissy gets a time out, Bingo and Rolly try to break her out of her punishment.

22b
"Luck of the Pug-ish"
Scott Bern
Sean Coyle
Kelly James
March 16, 2018 (2018-03-16)
TBA
0.76[26]

The Pugs travel to Ireland in search of a four-leaf clover to bring Bob good luck.

23a
"The Great Shirt Rescue"
Scott Bern
Jean Ansolabehere
Rudi Bloss
March 23, 2018 (2018-03-23)
TBA
0.84[27]

When Bob loses his lucky shirt, the pugs stage a heist to get it back.

23b
"A Pugtastic Day with Grandma"
Trevor Wall
Bill Fuller (story)
Michael Olson
Carole Holliday
March 30, 2018 (2018-03-30)
TBA
0.89[28]

The pugs stay at Bob’s mother Sarah's house while he goes out of town.