document_title: List of Sense8 characters

question_text: who plays riley blue's father in sense8

question_tokens: who plays riley blue 's father in sense8

text: List of Sense8 characters

text: August 8 cluster[edit]

text: The "August 8 cluster" are the main heroes of the series. Angelica Turing "gave birth" to this cluster shortly before her suicide. Jonas Maliki acts as their mentor. Throughout the first season, the sensates' new powers confuse them, as they frequently visit each other with no control via their newfound psychic link. Over the course of the season, they each get to know each other, eventually gaining more control over their abilities. By the end of season one, they may all visit each other and share their abilities at will, with everyone aiding Will when Riley is captured by the series' main villain, Whispers. During "A Christmas Special", they are all shown to be close friends now, frequently visiting the others, even when it's just to talk.

text: Capheus "Van Damme" Onyango[edit]

text: Portrayed by Aml Ameen in the first season and Toby Onwumere in the second.[1][4][5][6][7] Gabriel Ouma portrayed a young Capheus.

text: A matatu driver in Nairobi, and a passionate fan of Jean-Claude Van Damme who is trying to earn money to buy AIDS medicine for his mother. Capheus owns his bus matatu business with his best friend Jela. Their business is failing, however, in competition with another matatu. One day, they drive through a shady part of a nearby city, where they are ambushed by a local warlord's men, who take their money and the medicine Capheus has bought for his mother. Capheus goes after them, and is about to be killed when he channels Sun, a sensate in his cluster with intensive kickboxing training, and who Capheus at first believes is the spirit of Van Damme. With her skills, they defeat the men, and his fighting skills gain his matatu business popularity, and draws the attention of Silas Kabaka, one of Nairobi's most powerful crime lords. He hires Capheus to drive his daughter Amondi every day to a CDC center for cancer treatment, as he cannot send his men to do it without drawing attention to her. When Silas is captured by his enemies, Capheus decides to save him, once again channeling Sun to defeat the men, saving Silas and reuniting him with his daughter. Capheus' driving skills often come in handy for the other sensates, and he is able to use this to help Nomi escape Whispers' men by taking over the drive through the streets of San Francisco.

text: His matatu is irreparable after his heist to save Silas, but Silas repays him by buying him a new one. Because of his reputation for taking down the superpower, his business is booming, and people begin seeing him as something of an idol. He is later approached to run for office, and run against the current politically corrupt president. His messages of hope and power ring true to the people in Nairobi however he is still targeted at one major rally and by people that think he is reckless. Silas even endorses him but it later turns out he is in love with Capheus' mother. After one rally goes terribly with riots breaking out as well as his staff turning against him, he is saved by the Superpower gang. He is also determined to quit, but his message and speeches go viral.

text: Sun Bak[edit]

text: Portrayed by Doona Bae.[1] Jane Lee portrayed a young Sun.

text: The daughter of a powerful Seoul businessman and a burgeoning star in the underground kickboxing world, with a master's degree in economics. When Sun's brother Joong-Ki is caught embezzling, Sun’s father asks her to take the blame before the police and court find out, as Sun is already looked down upon by their partners for being a woman. Remembering her deceased mother's words to always look out for her brother, Sun agrees, and goes to jail for a crime she didn't commit. She becomes unpopular when she looks out for a woman who is often bullied by the other inmates. Sun helps her get revenge on the women picking on her, leading them to ambush Sun in the courtyard. Sun easily fends them off, but is locked in solitary confinement for fighting. Soon afterwards, her father comes to visit her, telling her that she has been a better child than her brother ever was, and that he will come forward about who really committed the crimes, as he wishes to free Sun. The next day however, Sun's brother visits and tells her that their father killed himself the night before. Sun is quickly able to realize that Joong-Ki killed their father after realizing he would come forward and that he would end up in jail. Sun is arguably the most useful of the sensates and is considered 'the muscle.' She often comes to rescue others in the cluster with her kickboxing skills whenever they are cornered, and especially when Will goes to free Riley from Whispers. She has the strongest bond with Capheus, and interacts with him the most.

text: During the next few months, Sun frequently visits the other sensates to escape from solitary confinement, while the women she defended bribe the guards to bring her presents. Eventually, Sun is let out of solitary and rejoins her friends in the main prison. Sun is eventually almost hung by some guards bought off by her brother but she is saved by a fellow prisoner, and they both break out with the help of her cluster. She finds a safe house but is frequently chased by law enforcement, most notably, Detective Mun. It turns out that he is looking to indict her brother and grant Sun with freedom but does not have enough evidence. Sun chooses to go undercover at a gala, serving cocktails with the help of Lito to confront her brother. At the night of the gala, Mun also captures Joong-Ki but he shoots him in the stomach and gets away. Sun pursues him in a high speed chase and pins him on the floor, she does not kill him and is arrested while Joong-Ki is escorted away by a politician friend. With the help of Nomi, who rigs the traffic light system and gets the police bandwagon to topside, Sun escapes and is rescued by Puck, who is somehow is Korea, and they are escorted away.

text: Nomi Marks[edit]

text: Portrayed by Jamie Clayton.[1] John Babbo portrayed a young Nomi (then called Michael).

text: A trans woman hacktivist and blogger living in San Francisco with her girlfriend, Amanita (nicknamed Neets). At a pride parade, Nomi falls unconscious. She ends up in the hospital, where her transphobic mother tells her that she won't let Neets see her. Nomi's doctor, Dr. Metzger, tells them that her brain has an illness that compromises her sense of reality, and she will need an operation that is essentially lobotomy. Believing Nomi is mentally unstable, they keep her in the hospital against her will. Nomi eventually finds out that her “doctor” works for BPO, an organization which hunts down sensates, owned by the series' villain, Whispers. Neets stages a breakout for Nomi, and the two begin investigating everything that's happening. They investigate the company, Dr. Metzger, his previous patients, and Whispers. The two find out that all of Dr. Metzger’s previous patients who he had “diagnosed” with the same fake illness were sensates from other clusters, and they have all been lobotomized by BPO to the point that they are waking brain death patients. Nomi also discovers that Whispers can make their lobotomized zombie-like bodies do his bidding when he needs to eliminate threats so she and Neets attempt to stay off the company's radar for a while. Fellow sensate Will gets in direct contact with Nomi, and she uses her hacking skills to help Will save another sensate named Riley.

text: Now hiding from an FBI agent, Nomi and Neets eventually choose to move-in with her old hacking friend, Bug. She routinely helps out other sensates by being the eyes they cannot have by accessing security cameras in other rooms. She eventually gets tired of hiding from the FBI and gets a pass with the help of Bug. Bug gets the idea to give Nomi an 'E-death' meaning all her records and past crimes will be erased from the government records and she will be free. The E-death successfully works and she is finally able to be the maid of honour at her sister's wedding. During the ceremony however the FBI agent Bendix apprehends her, but without proof of warrant she is able to go free. At the end of season 2, Neets proposes to Nomi and in turn, Nomi proposes to Neets.

text: Kala Dandekar[edit]

text: Portrayed by Tina Desai.[1][8] Yashvi Nagar portrayed a young Kala.

text: A university-educated pharmacist and devout Hindu in Mumbai engaged to marry a man she does not love. Her sensate cluster is born while she is stressed about her impending wedding. Through her new powers, Kala meets her fellow sensate Wolfgang. The two talk constantly, and Kala realizes she is beginning to fall in love with him. Kala often goes to a temple of Ganesha to bring offerings and pray for advice. One day while visiting, she discovers her fiancé’s father is trying to get the Indian government to enact a law that will restrict Hindu religious practice, and many priests at the temple are praying for his death. When her wedding day arrives, Wolfgang accidentally appears to her naked, causing her to faint. When she awakens the next day, she and her fiancé, Rajan, discuss rescheduling the wedding. She goes to the temple to pray and Rajan's father confronts her. He asks her to call off the wedding, but before she can tell him what she wants, a line of hooded figures appear and stab him one by one, revealing themselves as Hindu extremists. While his father’s in a coma, Kala tells Rajan that his father instructed her to break up with him. One day, Wolfgang tells Kala that she should not love him, before confronting some men who tried to kill his best friend Felix. She aids him in defeating them. In the end, all who are left are Wolfgang and the man who organized his best friend’s attempted murder. Even though the man is defenseless, Wolfgang shoots him multiple times, telling Kala that his violent past is why she shouldn't love him, claiming he is a monster. Kala's on-the-fly thinking and chemistry skills help free Riley, in the season one finale, from Whispers.

text: While on their honeymoon in Italy, Rajan confronts Kala about being a virgin, which makes her paranoid. While she does eventually decide to have sex with him, she is interrupted by Wolfgang, and does not go through with it. She then decides to move-in with Rajan. The two look for a house together. She is still wrestling her feelings for Wolfgang and also another man comes into her life, Ajay, one of Rajan's friends. They meet at an Art Gallery where they share a fondness for deity artwork. The battle for religious freedom is still an issue and Kala is still associated with the religious extremists, the crowd she does not want to be associated with. Because of this, the couple increase security measures in their house. Rajan appears to be harbouring secrets of his own and takes a trip to Paris, when it is revealed that he is investigating a political corruption case of Ajay and asks Kala to be escorted to a safe-house in Paris. Hoping to meet up with Wolfgang, she agrees until Wolfgang is taken by Whispers.

text: Riley Blue[edit]

text: Portrayed by Tuppence Middleton.[1] Katrin Sara Olafsdottir portrayed a young Riley.

text: An Icelandic DJ living in London who is trying to escape a troubled past. Riley begins the series by accidentally diving deep into the world of London's drug trade, and has many psychic encounters with Will, a sensate who is a part of her cluster. The two fall in love with each other. She finds that she cannot escape her tragic past and goes home to Iceland to confront it and reunite with her father, who is a famous Icelandic pianist. It is there that Riley's backstory is revealed. She was married once to a man named Magnus and was pregnant with his child. On the way to the hospital to give birth, a snowstorm hits and Magnus accidentally drives off the road. Her husband dies in the car crash and she is stuck in the overturned car. Her water breaks and she has to give birth in the wilderness. She takes her baby and tries to get to safety, but ultimately, her daughter freezes to death. In the present, Riley is haunted by survivor's guilt. While at her father’s classical music concert, she falls unconscious and is taken to the hospital. Her unique brain scans garner the attention of the series’ villain Whispers, who leads an organization that hunts down sensates, and he abducts her. Aware of what is happening, Will goes to Iceland and uses his skills and those of other sensates to break her out. Before they escape however, Will looks into Whispers' eyes, which gives Whispers the ability to see and hear through Will’s perspective. Riley helps Will use drugs to knock him unconscious to avoid Whispers learning their location. With this strategy, the two successfully escape, using a boat belonging to Riley's friend Sven to get out to sea.

text: Due to Whispers' being able to see through Will, she must constantly inject him with drugs to prevent the psychic link to revealing their location. Riley takes care of Will while in hiding and eventually the two decide to go to Chicago to visit Will's father.

text: Wolfgang Bogdanow[edit]

text: Portrayed by Max Riemelt.[1] Lenius Jung portrayed a young Wolfgang.

text: A Berlin locksmith and safe-cracker who has unresolved problems with his late father and participates in organized crime. One night, he and his best friend Felix decide to rob Steiner, Wolfgang’s cousin and enemy, of his most prized possession, a set of outstandingly expensive jewels. The two successfully rob him, and begin looking for buyers. While using some of their newfound fortune to go on a shopping spree, Felix is shot by the Steiner’s men and is put into a coma. Throughout the series, the sensate who Wolfgang bonds the most with is Kala. Over time, the two fall in love. Wolfgang confronts and kills Steiner and his men with Lito’s help, causing Sergei, Steiner’s father and Wolfgang's uncle, to seek revenge. Wolfgang goes to Sergei’s home to kill him and, with the help of Will and Kala, defeats all his men. Although, Sergei is left defenseless, wounded, and alone, Wolfgang shows no mercy, shooting him multiple times in the head. He then tells Kala that they cannot be together, because Wolfgang claims he is a monster. Wolfgang's skillful ruthlessness aids Will when Riley is kidnapped by Whispers.

text: Wolfgang is told that his actions may cause a dynastic war between Berlin's most powerful families. Sure enough, he is ambushed on New Year's, but he and Felix, who has woken up from his coma, survive thanks to the help of the other sensates.

text: Lito Rodríguez[edit]

text: Portrayed by Miguel Ángel Silvestre.[1]

text: A closeted actor living in Mexico City with his boyfriend Hernando.[1] Lito is pursued by his costar Daniela, whom he is using to make the public believe he is straight. One night, a tipsy Daniela visits his apartment, wishing to sleep with him and threatening to call the press in order to manipulate him into allowing her inside. Alone, Lito and Hernando reveal to her that they are lovers. She then agrees to help them keep this secret and quickly becomes one of their closest friends, sometimes participating with them sexually. While filming a movie, he meets the film's producer, whom he recognizes as Daniela's abusive ex-boyfriend and stalker, Joaquín. Later, Joaquín shows up at Lito's apartment, drunk and crying, and manages to steal Daniela's phone, which contains pictures of Lito and Hernando having sex. He threatens to reveal them to the public. Daniela wishes to protect Lito and Hernando and agrees to go back with Joaquín to prevent him from leaking the photos. Lito agrees to let Daniela do this. Hernando disagrees with the decision, becomes resentful of Lito for allowing Daniela to go back to her abuser, and breaks up with him. While grieving, Lito realizes he should not have let Daniela go back and decides to rescue her. He goes to Joaquín's house and channels Wolfgang's aggression, beating Joaquín to a pulp and taking Daniela home. After this, the three are reunited and he and Hernando get back together. Will is able to use Lito's acting skills to lie while in Whispers' facility.

text: After rescuing Daniela, Joaquín leaks the photos of Lito and Hernando to the world, ruining his career. He and Lito are evicted from their apartment, but Daniela allows them to stay with her.

text: Will Gorski[edit]

text: Portrayed by Brian J. Smith.[1] Maxwell Jenkins portrayed a young Will.

text: A Chicago police officer haunted by an unsolved murder from his childhood. When the series begins, he tells his partner Diego about his supernatural experiences although he doesn't believe him. He begins investigating the unreported murder of Angelica, who keeps appearing to him in visions. Most of his initial sensate interactions are with fellow cluster-member Riley Blue and the two begin to fall in love. Soon Jonas Maliki, a sensate from Angelica’s cluster, confronts Will in person about his role as a sensate. Will responds by turning Jonas in to the police and is viewed as a hero in his precinct. He begins to learn more about the other sensates in his cluster and how to utilize his new abilities. Eventually, he discovers that Riley has been captured by the series villain Whispers, whom Jonas has warned him about. According to Jonas, if Will looks into Whispers eyes, he will be able to see everything that he sees. Whispers is holding Riley in a private facility in Iceland, where she is to be experimented on. Will goes to Iceland and uses his skills, as well as the other sensates’ abilities, to save Riley. During their escape, however, Will accidentally looks into Whispers' eyes. Far from the facility, Will injects himself with drugs to lose consciousness to ensure that Whispers does not find them. Riley helps them successfully escape and gets Will to safety.

text: Because Whispers can now see through him, Will constantly inject himself with drugs in order to reduce Whispers' psychic influence. When awake, Will and Riley grow much closer. On Christmas Day, however, Whispers reveals to Will that his father has resumed drinking and is severely depressed without him. Will feels guilty, and Riley tells him they will go visit his father together.

text: Other series regulars[edit]

text: Amanita "Neets" Caplan[edit]

text: Portrayed by Freema Agyeman.[1]

text: Nomi's girlfriend, who later becomes an ally for the new sensates.

text: Whispers[edit]

text: Portrayed by Terrence Mann.[9]

text: A sensate who turned against his own kind for unknown reasons and leads an organization determined to neutralize or kill sensates. Despite his being a sensate and having a family of his own, he lacks empathy.

text: Sanyam Dandekar[edit]

text: Portrayed by Anupam Kher.[10] Himanshu Powdwal portrayed a young Sanyam.

text: Kala's father, a chef and restaurant owner. He and his daughter are very close. Kala's fiancée Rajan constantly seeks his approval.

text: Jonas Maliki[edit]

text: Portrayed by Naveen Andrews.[9]

text: A sensate from Angelica's cluster, who wants to help the newly-born cluster of sensates. By the end of season one, he is captured by the series' villain, Whispers.

text: Angelica "Angel" Turing[edit]

text: Portrayed by Daryl Hannah.[11]

text: A sensate from an older cluster (which includes Jonas) who becomes the "mother" of the cluster of eight new sensates as she activates their psychic connection. She kills herself before being captured by Whispers in order to protect the cluster she has birthed. Because she birthed the new sensates, her memories echo through them, and she can still somehow communicate with them. Jonas said "A genetic birth transfers genes. A sensate birth transfers sense experience and memory."

text: Recurring characters[edit]

text: The recurring actors are listed by the region in which they first appear.

text: In Nairobi, Kenya[edit]

text:
Paul Ogola as Jela,[12] Capheus' best friend and partner in the "Van Damn" bus service.
Peter King Mwania as Silas Kabaka,[13] a crime lord who approaches Capheus to work for him.
Lwanda Jawar as Githu, the leader of the Nairobi "Superpower" gang.[12]
Chichi Seii as Shiro, Capheus' mother who is seriously ill with AIDS.[12]
Rosa Katanu as Amondi Kabaka, Silas' daughter.
Biko Nyongesa,[14] plays a member of the "Superpower" gang.
Mumbi Maina as Zakia, a local news journalist who becomes romantically involved with Capheus

text: In Seoul, South Korea[edit]

text:
Lee Ki-chan[15] as Joong-Ki Bak, Sun's younger brother.
Lee Geung-young[15] as Kang-Dae Bak, a businessman and Sun and Joong-Ki's father.
Youn Yuh-jung as Min-jung, fellow prisoner
Sukku Son as Detective Mun, policeman, who wants to clear Sun's name
Hye-Hwa Kim as Mi-Cha,[16] Sun's mother.
Sara Sohn as Soo-Jin,[16] a Korean prisoner.[17]
Myung Gye-Nam[15] as Sun's kickboxing trainer.

text: In San Francisco, California, United States of America[edit]

text:
Adam Shapiro as Dr. Metzger, Nomi's "doctor" who really works for Whispers.[18]
Michael X. Sommers as Bug, Nomi's old friend who ran with her in their younger hacktivist days.
Sandra Fish as Janet Marks, Nomi's disapproving mother.
Maximilienne Ewalt as Grace, Amanita's mother who is more accepting of Nomi than her own. She embraces both Nomi's relationship with Neets and her identity as a trans woman.[19]

text: In Mumbai, India[edit]

text:
Anupam Kher as Sanyam Dandekar, Kala's Father.
Purab Kohli[20] as Rajan Rasal, Kala's fiancé.
Natasha Rastogi[20] as Priya Dandekar, Kala and Daya's mother, Sanyam's wife.

Mansi Dovhal portrayed a young Priya.

Darshan Jariwala[20] as Manendra Rasal, Rajan’s father and Sahana’s husband.
Mita Vashisht[20] as Sahana Rasal, mother of Rajan and wife of Manendra.
Huzane Mewawala as Daya Dandekar, Kala's sister and a fellow pharmacist.
Avantika Akerkar as Aunty Ina, Kala and Daya's aunt.
Shruti Bapna as Devi, Kala's friend.[21]
Rajesh Khera as a wedding planner.[22]

text: In Reykjavík, Iceland[edit]

text:
Kristján Kristjánsson as Gunnar, Riley's pianist father.[23]
Lilja Þórisdóttir[23] as Yrsa, an Icelandic sensate from an older cluster.
Eyþór Gunnarsson as Sven, Riley's friend in Iceland.[23]
Thor Birgisson as Magnus Þórsson, Riley's husband who died in a car accident.

text: In London, England, United Kingdom[edit]

text:
Frank Dillane[24] as Shugs, Riley's close friend and Bambie's boyfriend.
Nicôle Lecky as Bambie, Shugs' girlfriend.
Joseph Mawle as Nyx, a drug dealer.

text: In Berlin, Germany[edit]

text:
Maximilian Mauff as Felix Bernner, a locksmith who is Wolfgang's best friend and partner-in-crime.

Chiron Elias Krase portrayed a young Felix.

Sylvester Groth as Sergei Bogdanow, Wolfgang's rich uncle and Steiner's father.
Christian Oliver as Steiner Bogdanow, a villainous Russian mobster in Berlin who is at war with his cousin Wolfgang and Felix.[25]
Bernhard Schütz as Anton Bogdanow, Wolfgang's father.
Georg Tryphon as Abraham, a Jewish business man.
Wolfgang Lindner as one of Sergei's bodyguards.
Lars Eidinger as Sebastian Fuchs, also known as "King of the North" for his status as leading one faction of the mob gangs in Berlin.
Valeria Bilello as Lila Facchini, a sensate from another cluster that works alongside Fuchs and is in collusion with Whispers.

text: In Mexico City, Mexico[edit]

text:
Alfonso Herrera as Hernando Fuentes, Lito's boyfriend.[26]
Eréndira Ibarra as Daniela Velázquez, an actress who helps Lito to hide his sexual orientation. Joaquin's ex-girlfriend.[27]
Raúl Méndez as Joaquín Flores, Daniela's jealous and violent abusive ex-boyfriend.[27][28]
Ari Brickman as the director of Lito's current film.
Jeronimo Best as the assistant director in Lito's movies.
Erik Hayser as Raoul Pasquale, a sensate from Angelica's first cluster and acquaintance of Lito.

text: In Chicago, Illinois, United States of America[edit]

text:
Ness Bautista[18] as Diego Morales, Will's police partner.
William Burke as Deshawn, a young gang member in Chicago.
Larry Clarke as Will's Police Captain.
Margot Thorne as Sara Patrell, a young sensate who disappeared after being found by Whispers.
Joe Pantoliano as Michael Gorski, Will's father, a retired cop.[18]

text: Minor characters[edit]

text: These are a few significant minor characters, such as celebrities making a cameo appearance.

text:
Ma Dong-seok[15] as the bouncer outside the sex club in Seoul.[29]
Tony Hong as the referee of the underground martial arts ring.
Sean Dorsey as Sean, the real life choreographer of the Fresh Meat Festival dance Nomi and Amanita attend.[30]
Tino Rodríguez as "Green Fairy" in the San Francisco Pride. Rodríguez's painting The Song that Traverses a Tenebrous World is featured in the show hanging on the walls of Lito's apartment.[31][32][33][34]
Virgo Paraiso as "Purple Fairy" in the San Francisco Pride.[31] Dorsey, Rodríguez and Paraiso had previously collaborated with the Wachowskis on the music video of Antony and the Johnsons' Epilepsy Is Dancing.[35]
Lana Wachowski and Tom Tykwer passing by the camera with their backs turned to it during the New Years Eve celebration in the Christmas special.[36]
David Mitchell and Aleksandar Hemon cameo as themselves in Amanita's bookstore.[37] They were involved in some capacity with the writing of the second season,[38][39] for which they were credited as "consultants".[40]
Eduardo Semerjian as "Parade Host" in the Sao Paulo Pride.
Marc Jacobs as himself.[41] His partner Char Defrancesco,[42] appears in the same scene, as Charlie.
Kobi Kihara as herself, interviewing Capheus.[43]
Cleopatra Koheirwe as Mother


document_title: The Sound of Music (film)

question_text: who owns the rights to the sound of music

root

text: The Sound of Music (film)

text: Plot[edit]

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

tag: p

text: While the Captain is away in Vienna, Maria makes play clothes for the children and takes them around Salzburg and the surrounding mountains, and 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

tag: ul

text: Background[edit]

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

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

text: Production[edit]

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

text: Screenplay and pre-production[edit]

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

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

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

text: Casting and rehearsals[edit]

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

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

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

text: Filming and post-production[edit]

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

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

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

text: Release[edit]

text: Marketing[edit]

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

text: Critical response[edit]

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

Richard Rodgers

tag: div

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

text: A few months after its United States release, The Sound of Music opened in 261 theaters overseas—the first American movie to be completely dubbed in a foreign language, both dialogue and music.[79] The German, French, Italian, and Spanish versions were completely dubbed, the Japanese version had Japanese dialogue with English songs, and other versions were released with foreign subtitles. The film was a popular success in every country it opened, except the two countries where the story originated, Austria and Germany.[80] In these countries, the film had to compete with the much-loved Die Trapp-Familie (1956), which provided the original inspiration for the Broadway musical, and its sequel Die Trapp-Familie in Amerika (1958)—both films still widely popular in German-speaking Europe and considered the authoritative von Trapp story.[80] Austrians took exception to the liberties taken by the filmmakers with regard to the costumes, which did not reflect traditional style, and the replacement of traditional Austrian folk songs with Broadway show tunes.[80] The film's Nazi theme was especially unpopular in Germany, where the Munich branch manager for 20th Century Fox approved the unauthorized cutting of the entire third act of the film following the wedding sequence—the scenes showing Salzburg following the Anschluss. Robert Wise and the studio intervened, the original film was restored, and the branch manager was fired.[81]

text: Box office[edit]

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

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

text: Historical accuracy[edit]

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

text: Georg was offered a position in the Kriegsmarine, but this occurred before the Anschluss. He was heavily recruited by the Nazis because he had extensive experience with submarines, and Germany was looking to expand its fleet of U-boats. With his family in desperate financial straits, and having no other marketable skills other than his training as a naval officer, he seriously considered the offer before deciding he could not serve a Nazi regime. Rather than threaten arrest, the Nazis actually continued to woo him.[97] In the film, Georg is depicted initially as a humorless, emotionally distant father. In reality, third child Maria von Trapp (called "Louisa" in the film) described her father as a doting parent who made handmade gifts for the children in his woodshop and who would often lead family musicales on his violin. She has a different recollection of her stepmother, whom she described as moody and prone to outbursts of rage. In a 2003 interview, Maria remembered, "[She] had a terrible temper ... and from one moment to the next, you didn't know what hit her. We were not used to this. But we took it like a thunderstorm that would pass, because the next minute she could be very nice."[98]

text: Maria Augusta Kutschera had indeed been a novice at Nonnberg Abbey in Salzburg and had been hired by the von Trapp family. However, she was hired only to be a tutor to young Maria Franziska ("Louisa" in the movie), who had come down with scarlet fever and needed her lessons at home, not to be a governess for all of the children.[97] Maria and Georg married for practical reasons, rather than love and affection for each other. Georg needed a mother for his children, and Maria needed the security of a husband and family once she decided to leave the abbey. "I really and truly was not in love," Maria wrote in her memoir, "I liked him but didn't love him. However, I loved the children, so in a way I really married the children." They were married in 1927, not in 1938 as depicted in the film, and the couple had been married for over a decade by the time of the Anschluss and had two of their three children together by that time. Maria later acknowledged that she grew to love Georg over time and enjoyed a happy marriage.[97]

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

text: The character Max Detweiler, the scheming family music director, is fictional. The von Trapps' family priest, the Reverend Franz Wasner, was their musical director for over twenty years and accompanied them when they left Austria.[97] The character of Friedrich (the second oldest child in the film version) was based on Rupert, the oldest of the real von Trapp children. Liesl (the oldest child in the film) was based on Agathe von Trapp, the second oldest in the real family. The names and ages of the children were changed, in part because the third child (who would be portrayed as "Louisa") was also named Maria, and producers thought that it would be confusing to have two characters called Maria in the film.[97] The von Trapp family had no control over how they were depicted in the film and stage musical, having given up the rights to their story to a German producer in the 1950s who then sold the rights to American producers.[97] Robert Wise met with Maria von Trapp and made it clear, according to a memo to Richard Zanuck, that he was not making a "documentary or realistic movie" about her family, and that he would make the film with "complete dramatic freedom" in order to produce a "fine and moving film"—one they could all be proud of.[100]

text: Soundtrack[edit]

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

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

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

text: Accolades[edit]

text: Awards and nominations[edit]

text:
Award
Category
Nominee
Result
Ref

Academy Awards
Best Picture
Robert Wise
Won
[111]

Best Director
Robert Wise
Won
[111]

Best Actress in a Leading Role
Julie Andrews
Nominated
[111]

Best Actress in a Supporting Role
Peggy Wood
Nominated
[111]

Best Music (Scoring of Music – Adaptation or Treatment)
Irwin Kostal
Won
[111]

Best Cinematography (Color)
Ted D. McCord
Nominated
[111]

Best Art Direction (Color)
Boris Leven (art direction);
Walter M. Scott and Ruby R. Levitt (set decoration)
Nominated
[111]

Best Costume Design (Color)
Dorothy Jeakins
Nominated
[111]

Best Sound Recording
James Corcoran and Fred Hynes
Won
[111]

Best Film Editing
William H. Reynolds
Won
[111]

BAFTA Awards
Best British Actress
Julie Andrews
Nominated
[112]

Directors Guild of America
Outstanding Directorial Achievement in Motion Pictures
Robert Wise
Won
[113]

Golden Globe Awards
Best Motion Picture – Musical or Comedy
Robert Wise
Won
[113]

Best Director – Motion Picture
Robert Wise
Nominated
[113]

Best Motion Picture Actress – Musical or Comedy
Julie Andrews
Won
[113]

Best Supporting Actress – Motion Picture
Peggy Wood
Nominated
[113]

Laurel Awards
General Entertainment
The Sound of Music
Won
[114]

Musical Performance – Female
Julie Andrews
Won
[114]

National Board of Review
Top Ten Films of 1965
The Sound of Music
Won
[113]

New York Film Critics Circle
Best Actress
Julie Andrews
2nd place
[114]

Writers Guild of America
Best Written American Musical
Ernest Lehman
Won
[114]

tag: table

text: AFI recognition[edit]

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

text:
AFI's 100 Years...100 Movies – No. 55[115]
AFI's 100 Years...100 Movies (10th Anniversary Edition) – No. 40[116]
AFI's 100 Years...100 Cheers – No. 41[117]
AFI's 100 Years of Musicals – No. 4[118]
AFI's 100 Years...100 Passions – No. 27[119]
AFI's 100 Years...100 Songs:

"The Sound of Music" – No. 10[120]
"My Favorite Things" – No. 64[120]
"Do-Re-Mi" – No. 88[120]

text: Legacy[edit]

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

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

text: Television and home media[edit]

text: The first American television transmission of The Sound of Music was on February 29, 1976 on ABC, which paid $15 million for a one-time only broadcast that became one of the top-rated films ever shown on television to that point.[126] The movie was not shown again until NBC acquired the broadcast rights and telecast the film on February 11, 1979.[127] NBC continued to air the film annually for twenty years.[126] During most of its run on NBC, the film was heavily edited to fit a three-hour time slot—approximately 140 minutes without commercials. The thirty minutes edited out of the original film included portions of the "Morning Hymn and Alleluia" sung by the nuns, part of the dialogue between Mother Abbess and Maria in the abbey, part of Liesl and Rolfe's dialogue preceding "Sixteen Going on Seventeen", Liesl's verse of "Edelweiss" sung with the Captain, the Captain and Baroness waltzing at the party, and minor dialogue cuts within existing scenes.

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

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

text: The film has been released on VHS, LaserDisc, and DVD numerous times. The first DVD version was released on August 29, 2000 to commemorate the 35th anniversary of the film's release.[130] The film is often included in box sets with other Rodgers & Hammerstein film adaptations.[130] A 40th anniversary DVD, with "making of" documentaries and special features, was released on November 15, 2005.[130] The film made its debut issue on Blu-ray Disc on November 2, 2010, for its 45th anniversary.[130][131][132] For the Blu-ray release, the original 70 mm negatives were rescanned at 8K resolution, then restored and remastered at 4K resolution for the transfer to Blu-ray, giving the most detailed copy of the film seen thus far. On March 10, 2015, Fox Home Entertainment released The Sound of Music 50th Anniversary Ultimate Collector's Edition—a five-disc set featuring thirteen hours of bonus features, including a new documentary, The Sound of a City: Julie Andrews Returns to Salzburg.[130][133] A March 2015 episode of ABC's 20/20 entitled The Untold Story of the Sound of Music featured a preview of the documentary and interviews by Diane Sawyer.[134]

text: Notes[edit]

text:
Jump up ^ Twentieth Century Fox also purchased the rights to the two German films for distribution in the United States. Fox combined the two films, Die Trapp-Familie and Die Trapp-Familie in Amerika, dubbed them in English, and released them as a single 106-minute film titled The Trapp Family, which was released on April 19, 1961.[9]
Jump up ^ Maria's morning run back to Nonnberg Abbey would have been about 11 miles (18 km).
Jump up ^ At the conclusion of filming at Schloss Leopoldskron, 20th Century Fox left behind the original gazebo as a gift to the city. The film's later popularity, however, led many fans to trespass onto the private and secluded lakefront property. To provide fans easier access to the famous structure, the city moved it to its present location at Hellbrunn Palace Park.[64]
Jump up ^ Terpning also created the poster artwork for Lawrence of Arabia, Doctor Zhivago, The Sand Pebbles, The Guns of Navarone, and the 1967 theatrical re-release of Gone with the Wind.[68] He is also known for his numerous magazine covers and his paintings of the American West and the Plains Indians.[68]
Jump up ^ Pauline Kael's review for McCall's generated a significant negative response from readers and contributed to her dismissal from the magazine.[75][76]
Jump up ^ In Salt Lake City, Utah (population 199,300), for example, 309,000 tickets were sold in forty weeks.[79] In Albany, New York (population 156,000), 176,536 tickets were sold in twenty-seven weeks.[79] In Orlando, Florida (population 88,135), 105,181 tickets were sold in thirty-five weeks.[79]
Jump up ^ The Sound of Music remained the highest-grossing film of all time for five years until 1971, when Gone with the Wind recaptured the crown following its successful 1967 widescreen rerelease.

tag: ol


document_title: Concert for George

question_text: who sang here comes the sun at the concert for george

text: Concert for George

text: Performances[edit]

text: The concert opened with a traditional Sanskrit invocation, the Sarvesham chant, followed by Indian music starting with Anoushka Shankar, daughter of Ravi Shankar, playing "Your Eyes". Next, Anoushka Shankar, Dhani Harrison and Jeff Lynne performed "The Inner Light", followed by a Ravi Shankar composition "Arpan" (Sanskrit for 'to give'), specially written for the occasion.

text: Next, there was a comedy interlude with four of the surviving members of the Monty Python troupe (Eric Idle, Terry Gilliam, Terry Jones along with Python contributor Neil Innes) performing "Sit on My Face". Then, Michael Palin came out as an over-the-top announcer who eventually states that he only ever wanted to be a lumberjack. He was then joined by the Pythons, Innes, Carol Cleveland and actor Tom Hanks and The Fred Tomlinson Singers to perform "The Lumberjack Song".

text: The remainder of the concert featured "George's Band" and included the surviving members of the Beatles, Paul McCartney and Ringo Starr, as well as musicians Eric Clapton, Jeff Lynne,  Tom Petty and the Heartbreakers, Billy Preston, Jools Holland, Albert Lee, Sam Brown, Gary Brooker, Joe Brown, Ray Cooper, Andy Fairweather-Low, Marc Mann, Dave Bronze, Klaus Voormann, Harrison's son Dhani and several other musicians who appeared on Harrison's recordings over the years.[2]

text: Between them they played a selection of mostly Harrison's songs, from both Beatles and post-Beatles eras, generally staying faithful to Harrison's original arrangements. Performances included Lynne on "I Want to Tell You" and "Give Me Love (Give Me Peace on Earth)"; Clapton on "If I Needed Someone" and "Beware of Darkness"; Petty on "I Need You" and "Taxman"; Petty, Lynne, Dhani Harrison, and Jim Keltner on "Handle With Care" as a quasi-Traveling Wilburys; Clapton and Preston on "Isn't It a Pity"; Starr on "Photograph" and "Honey Don't"; McCartney on "For You Blue" and "All Things Must Pass"; McCartney and Clapton on "Something" (McCartney opening with a solo ukulele accompaniment which then shifts into a full band version featuring Clapton); McCartney, Clapton and Starr reuniting on "While My Guitar Gently Weeps"; Preston on "My Sweet Lord"; and the group performance of "Wah-Wah".

text: Joe Brown closed the show with a rendition of "I'll See You in My Dreams" on ukulele, one of Harrison's favourite instruments.

text: The event was filmed and a motion picture version, directed by David Leland and photographed by Chris Menges was released on DVD on 17 November 2003. A compact disc version was also released on the same date although the Monty Python and Sam Brown tracks were not included on the CD. A Blu-ray version was released by Rhino Records on 22 March 2011.[3]

text: In 2018, to honor what would have been the late Beatle's 75th birthday, the concert made its debut on streaming services, and was issued on a vinyl LP set for the first time. [4]

text: Set list[edit]

text: This section  possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (August 2010) (Learn how and when to remove this template message)

text:
"Sarveshaam"
Traditional prayer – including a dedication by Ravi Shankar
"Your Eyes" (Ravi Shankar) – 8:22
Anoushka Shankar: sitar; Tanmoy Bose: tabla
"The Inner Light" (Harrison) – 3:01
Anoushka Shankar: sitar; Jeff Lynne: lead vocals, acoustic guitar; Rajendara Prasanna: shahnai; Tanmoy Bose: tabla; Dhani Harrison: backing vocals, piano; Sunil Gupta: flute; M. Balanchandar: mridangam; Unidentified musicians: other instruments
"Arpan" (Ravi Shankar) – 23:01
Anoushka Shankar: conductor; Sukanya Shankar: vocal-shloka;  M. Balanchandar: mridangam; Rajendara Prasanna: shahnai; Vishwa Mohan Bhatt: mohan vina; Tanmoy Bose: tabla, dholak; Chandrasekhar, Balu Raghuraman: violins; Eric Clapton: acoustic guitar; Pedro Eustache: wind instruments; Sunil Gupta: flute; Anuradha Krishamurthi, O.S. Arun: lead vocals; Jane Lister: harp; Gaurav Mazumdar: sitar; Snehashish Mzumdar: mandolin; Ramesh Mishra: sarangi; Pirashanna Thevarajah: percussion; Kenji Ota: tanpura; Barry Phillips: cello; Emil Richards: marimba; Partho Sarathy: sarod; Hari Sivanesan, Sivaskti Sivanesan: veena; Boys and Girls Choir courtesy of Bharatiya Vidya Bhavan; English Chamber Choir; London Metropolitan Orchestra (Andrew Brown, Roger Chase, Chris Fish, Helen Hathorn,  Lynda Houghton, Ian Humphries, Zoe Martlew, Stella Page, Debbie Widdup)
Michael Kamen – string conductor, string arrangement
Comic Interlude including four members of Monty Python: Eric Idle, Terry Gilliam, Terry Jones, and Michael Palin.  Also performing:  Neil Innes, Carol Cleveland, Tom Hanks, and The Fred Tomlinson Singers.
"Sit on My Face"
"The Lumberjack Song"
"I Want to Tell You" (Harrison) – 2:52
Jeff Lynne: lead vocals, rhythm guitar
"If I Needed Someone" (Harrison) – 2:28
Eric Clapton: lead vocals, rhythm guitar
"Old Brown Shoe" (Harrison) – 3:48
Gary Brooker: lead vocals, electric piano
"Give Me Love (Give Me Peace on Earth)" (Harrison) – 3:29
Jeff Lynne: lead vocals, acoustic guitar
"Beware of Darkness" (Harrison) – 4:00
Eric Clapton: lead vocals, rhythm guitar
"Here Comes the Sun" (Harrison) – 3:09
Joe Brown: lead vocals, acoustic guitar; Neil Gauntlett: acoustic guitar; Dave "Rico" Niles: bass; Phil Capaldi: drums; Andy Fairweather-Low: electric guitar
"That's the Way It Goes" (Harrison) – 3:39
Joe Brown: lead vocals, mandolin; Neil Gauntlett: acoustic guitar; Dave "Rico" Niles: bass; Phil Capaldi: drums; Andy Fairweather-Low: slide electric guitar
"Horse to the Water" (George Harrison / Dhani Harrison)
Sam Brown: lead vocals; Jools Holland: piano; Jim Capaldi: drums
"Taxman" (Harrison) – 3:10
Tom Petty: lead vocals, rhythm guitar; Mike Campbell: lead guitar; Benmont Tench: electric piano; Ron Blair: bass; Steve Ferrone: drums; Scott Thurston: backing vocals, rhythm guitar
"I Need You" (Harrison) – 3:00
Tom Petty: lead vocals, twelve-string acoustic rhythm guitar; Mike Campbell: lead guitar; Benmont Tench: electric piano; Ron Blair: bass; Steve Ferrone: drums; Scott Thurston: backing vocals, rhythm guitar
"Handle with Care" (George Harrison / Jeff Lynne / Roy Orbison / Tom Petty / Bob Dylan) – 3:27
Tom Petty: lead vocals, twelve-string acoustic rhythm guitar; Jeff Lynne: lead vocals, rhythm guitar; Dhani Harrison: acoustic rhythm guitar; Scott Thurston: backing vocals, rhythm guitar, harmonica; Mike Campbell: lead guitar; Benmont Tench: electric piano; Ron Blair: bass; Steve Ferrone: drums; Jim Keltner: drums
"Isn't It a Pity" (Harrison) – 6:58
Billy Preston: lead vocals, Hammond organ; Eric Clapton: lead vocals, lead guitar; Marc Mann: slide guitar
"Photograph" (Starkey/Harrison) – 3:56
Ringo Starr: lead vocals; Jim Horn: sax solo
"Honey Don't" (Carl Perkins) – 3:03
Ringo Starr: lead vocals; Albert Lee: lead guitar solo; Gary Brooker: piano solo; Billy Preston: Hammond organ
"For You Blue" (Harrison) – 3:04
Paul McCartney: lead vocals, acoustic rhythm guitar; Ringo Starr: drums; Marc Mann: slide guitar; Gary Brooker: piano solo
"Something" (Harrison) – 4:25
Paul McCartney: lead vocals, ukulele, acoustic rhythm guitar; Ringo Starr: drums; Eric Clapton: lead vocals, rhythm guitar; Marc Mann: lead guitar
"All Things Must Pass" (Harrison) – 3:33
Paul McCartney: lead vocals, acoustic guitar; Ringo Starr: drums; Eric Clapton: acoustic guitar; Dhani Harrison: electric guitar; Klaus Voormann: bass; Marc Mann: slide guitar
"While My Guitar Gently Weeps" (Harrison) – 5:57
Eric Clapton: lead vocals, lead guitar solos; Paul McCartney: lead vocals, piano; Ringo Starr: drums; Dhani Harrison: acoustic guitar; Marc Mann: lead guitar
"My Sweet Lord" (Harrison) – 5:02
Billy Preston: lead vocals, Hammond organ; Paul McCartney: piano; Ringo Starr: drums; Eric Clapton: twelve-string acoustic guitar; Dhani Harrison: backing vocals, acoustic guitar; Marc Mann: slide guitar
"Wah-Wah" (Harrison) – 6:06
Eric Clapton: rhythm guitar/vocals; Jeff Lynne: acoustic rhythm guitar/vocals;[5] Billy Preston: backing  vocals, Hammond organ; Supergroup of Guest Musicians: other instruments
"I'll See You in My Dreams" (Isham Jones / Gus Kahn) – 4:01
Joe Brown: lead vocals, ukulele; Neil Gauntlett: acoustic guitar; Dave "Rico" Niles: bass; Phil Capaldi: drums

text: George's Band (after interlude) and guests[edit]

text:
Eric Clapton – electric and acoustic guitars, musical director
Jeff Lynne, Tom Petty, Joe Brown, Albert Lee, Marc Mann, Andy Fairweather-Low, Paul McCartney, Dhani Harrison – electric and acoustic guitars
Gary Brooker, Jools Holland, Chris Stainton, Billy Preston, Paul McCartney – keyboards
Dave Bronze, Klaus Voormann – bass
Ringo Starr, Jim Keltner, Jim Capaldi, Henry Spinetti – drums
Ray Cooper, Emil Richards, Jim Capaldi – percussion
Jim Horn – tenor saxophone
Tom Scott – alto saxophone
Katie Kissoon, Tessa Niles, Sam Brown – backing vocals
Anoushka Shankar – sitar