document_title: The Sound of Music (film)

question_text: captain von trapp in the sound of music

question_tokens: captain von trapp in the sound of music

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 first 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] 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] The voices of some of the adult actors also had voice doubles, including Peggy Wood and Christopher Plummer.[43]

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.[44] The company then flew to Salzburg where filming resumed on April 23 at Mondsee Abbey for the wedding scenes.[45] 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.[45] 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[46]—Wise arranged for scenes to be shot at St. Margarethen Chapel and Dürer Studios (Reverend Mother's office).[47] 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.[48] From June 9 to 19, scenes were shot at Frohnburg Palace which represented the front and back façades of the villa.[48] 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.[48] 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.[49][Note 2] The final scene of the von Trapp family escaping over the mountains was filmed on the Obersalzberg in the Bavarian Alps.[50]

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.[51] 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.[51] A total of eighty-three scenes were filmed in just over five months.[52] 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.[53] In October, Christopher Plummer's singing voice was dubbed by veteran Disney playback singer Bill Lee.[54] The film was then edited by Wise and film editor William Reynolds.[55] 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.[54][55] 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[56] at the Mann Theater, and the second one held the following night in Tulsa.[57] Despite the "sensational" responses from the preview audiences, Wise made a few final editing changes before completing the film.[57] 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.[58] Aerial footage was photographed with an MCS-70 camera.[58] The sound was recorded on 70 mm six-track using a Westrex recording system.[1][58] The sets used for the film were based on the storyboards of sketch artist Maurice Zuberano,[59] who accompanied Wise to Austria to scout filming locations in November 1963.[60] 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.[59] 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.[59] 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.[61] 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.[62] 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.[63][64][Note 3]

text: Release[edit]

text: Marketing[edit]

text: Robert Wise hired Mike Kaplan to direct the publicity campaign for the film.[65] 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.[65] 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.[66][67][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.[65] 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.[68] The roadshow concept involved two showings a day with reserved seating and an intermission similar to Broadway musicals.[68] 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.[66] During the Salzburg production phase, 20th Century Fox organized press junkets for America journalists to interview Wise and his team and the cast members.[66]

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."[69]

Richard Rodgers

tag: div

text: The film had its opening premiere on March 2, 1965 at the Rivoli Theater in New York City.[70][71] Initial reviews were mixed.[72] 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.[73] 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".[70] 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".[74] [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".[68] Indeed, reviewers such as Philip K. Scheuer of the Los Angeles Times described the film as "three hours of visual and vocal brilliance",[68] 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".[68] The "wildly mixed film reviews" reflected the critical response to the stage musical, according to The Oxford Companion to the American Musical.[76] 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.[68] 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.[77] The original theatrical release of the film in America lasted four and a half years.[77]

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.[78] 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.[79] 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.[79] 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.[79] 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.[80] The Sound of Music has never been popular in Austria and Germany.[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.[77] It held the number one position for thirty of the next forty-three weeks,[77] 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.[78] In some cities in the United States, the number of tickets sold exceeded the total population.[78][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] 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.[86][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.[87] 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 Album Charts.[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]

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-a-long 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-a-long 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-a-long 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 screened by the BBC on 25 December 1978 and, as of December 2016, fifteen times since, mostly around Christmas time. As the BBC is 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.[63]
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.[67] He is also known for his numerous magazine covers and his paintings of the American West and the Plains Indians.[67]
Jump up ^ Pauline Kael's review for McCall's generated a significant negative response from readers and contributed to her dismissal from the magazine.[74][75]
Jump up ^ In Salt Lake City, Utah (population 199,300), for example, 309,000 tickets were sold in forty weeks.[78] In Albany, New York (population 156,000), 176,536 tickets were sold in twenty-seven weeks.[78] In Orlando, Florida (population 88,135), 105,181 tickets were sold in thirty-five weeks.[78]
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


question_text: who plays the french guy on talladega nights

root

text: Plot[edit]

text: Ricky Bobby (Will Ferrell) is a man who grows up dreaming of going fast. While working on the pit crew of Dennit Racing driver Terry Cheveaux (Adam McKay), Bobby acts as a replacement driver after Terry decides to take a bathroom break while in last place. After starting in last place in place of Cheveaux, Bobby finishes third. Bobby becomes the new great in NASCAR and gains fame and fortune at Dennit Racing. While racing, he meets his future wife Carley (Leslie Bibb), after she flashes her breasts.

tag: p

text: Bobby persuades Dennit Racing to sponsor an additional team car and arranges to have his best friend, Cal Naughton Jr. (John C. Reilly), on his team. Bobby and Naughton succeed throughout competitions but are soon introduced to their new teammate, openly gay French Formula One rival Jean Girard (Sacha Baron Cohen). In a bar, Jean tries to force Ricky into saying "I love crepes." Ricky refuses and Girard breaks Ricky's arm as Ricky wanted him to. Girard soon outperforms both Bobby and Naughton to become Dennit Racing's latest success story.

text: Desperate to win, Bobby exceeds his limitations and crashes at Charlotte Motor Speedway, which included his car rolling and flipping in the air. While paramedics attempt to take him to the hospital, Bobby runs around on the track. Wearing only his helmet and underwear, Bobby insists he is on fire. During his recovery, Bobby believes he is paralyzed; after deliberately stabbing himself in the leg, he realizes that he is not.

text: After leaving the hospital, Bobby is eager to rejoin the NASCAR circuit. Before a race at Rockingham Speedway, Bobby completed a test drive but fear caused him to drive exceedingly slow. Bobby is fired from Dennit Racing and his pit crew now works for Girard. Brian Wavecrest acts as Bobby's replacement for the Wonder Bread car.

text: Desperate to remain wealthy, Carley divorces Bobby and marries Naughton. After accusing Naughton of ruining his life, Bobby ends their friendship.

text: Ricky moves in with his mom, Lucy Bobby (Jane Lynch), and brings his two trash-talking sons, Walker and Texas Ranger (Houston Tumlin and Grayson Russell), with him while taking a job as a pizza delivery man. After colliding his car with a woman pushing a shopping cart and hitting a police officer, Bobby loses his driver's license and has to use a bicycle and a public bus to deliver pizzas. Meanwhile, Grandma Lucy is determined to reform her two disrespectful grandsons.

text: Bobby's estranged father, Reese (Gary Cole), returns to remind Bobby how to drive, using unorthodox methods such as putting a live cougar in his car. After his father leaves him again, Bobby's former assistant, Susan (Amy Adams), persuades him to return to NASCAR, since it's in his nature to drive fast. After deciding to take Susan's advice and race at the Talladega 500, Bobby and Susan become romantic. With the Talladega 500 on his mind, Bobby gathers a race car and pit crew.

text: Before the race, Bobby makes amends with Carley, Girard and Naughton, while uniting with his pit crew chief and close friend, Lucius Washington (Michael Clarke Duncan). Bobby is forced to start in last place, after spare parts were donated to build the engine in Bobby's new race car. At the start of the race, Bobby passes all of the drivers, except Girard. In the closing laps, Naughton uses a slingshot technique for Bobby to pass Girard.

text: The replacement driver of Bobby's Wonder Bread car causes a massive wreck that makes all drivers crash, except Bobby and Girard. On the final lap of the race, Bobby and Girard collide with each other and their race cars roll towards the finish line. Bobby and Girard exit their cars and run towards the finish line. In the background, "We Belong" by Pat Benatar is playing. Bobby wins the race but he and Girard are disqualified for exiting their cars. When Girard offers a handshake, Bobby responds by kissing him on the lips. As a result of being in third place at the time of the first major crash, Naughton is officially declared the winner of the Talladega 500, his first career victory. Bobby is one of the first to congratulate Naughton and the two reconcile their friendship. Carley asks Bobby to move back in with her and start over, but he chooses to stay with Susan instead. At the end of the event, Bobby is congratulated in the parking lot by Reese; Bobby declares that it was no longer about winning, knowing that he has a family who loves him no matter where he finishes.

text: In a post credits scene, Lucy is shown reading a story to Walker and Texas Ranger, both having fully been disciplined by her and are now presented as polite, respectful children.

text: Cast[edit]

text:
Will Ferrell as Ricky Bobby, a NASCAR driver who only believes in winning throughout his career. He drives the No. 26 Wonder Bread car during his soar to the top of NASCAR and the No. 62 "ME" car at the Talladega 500.

Jake Johnson as 5-year-old Ricky.
Luke Bigham as 10-year-old Ricky.

John C. Reilly as Cal Naughton Jr., Bobby's best friend and teammate.

Austin Grimm as 10-year-old Cal.

Sacha Baron Cohen as Jean Girard, an openly gay French Formula One driver and Bobby's archrival. Girard's dream is to move to Stockholm and design a currency for use by dogs and cats. He is described as talented, eccentric and dominating in the Formula One circuit in a SPEED broadcast segment. While challenging Bobby, Girard drives the No. 55 Perrier car.
Michael Clarke Duncan as Lucius Washington, Ricky's crew chief and close friend.
Leslie Bibb as Carley Bobby, Ricky's wife and later Naughton's wife after she fears Ricky will not successfully return to NASCAR.
Gary Cole as Reese Bobby, Ricky's father.
Jane Lynch as Lucy Bobby, Ricky's mother.
Amy Adams as Susan, Bobby's assistant and eventual love interest.
Andy Richter as Gregory, Girard's openly-gay partner and a world-class trainer of German shepherds.
Houston Tumlin and Grayson Russell as Walker and Texas Ranger Bobby, Ricky's two sons.
Adam McKay (the film's director) as Terry Cheveaux, an apathetic driver who Bobby replaces at the beginning of the film.
David Koechner, Ian Roberts and Jack McBrayer as Hershell, Kyle and Glenn, Bobby's three pit crew members.
Pat Hingle as Larry Dennit Sr., original owner of Bobby's team, Dennit Racing. After retiring, his son, Larry Dennit Jr., takes over the team halfway through Bobby's career.
Greg Germann as Larry Dennit Jr., the new owner of Dennit Racing, who is concerned only with season point totals and winning sponsors.
Molly Shannon as Mrs. Dennit, the younger Dennit's alcoholic wife.
Ted Manson as Chip, Bobby's elderly, long-suffering father-in-law.
Rob Riggle as Jack Telmont, the Speed Channel commentator.
Dale Earnhardt Jr. as one of Bobby's fans. He also appears in a deleted scene at the garage in Talladega.
Jamie McMurray loses to Ricky at Texas Motor Speedway when Ricky wins by driving in reverse.
Mike Joy, Darrell Waltrip and Larry McReynolds, Fox NASCAR commentators.
Dick Berggren, a Fox NASCAR field reporter, seen interviewing Ricky in pit lane at Las Vegas Motor Speedway.
Bill Weber, Benny Parsons and Wally Dallenbach Jr., NASCAR on NBC commentators.
Elvis Costello and Mos Def, guests at Girard's party.
Bob Jenkins and Rick Benjamin, Speed journalists.
Greg Biffle, in a Special Feature but not credited.

tag: ul

text: Release[edit]

text: Critical reception [edit]

text: Talladega Nights: The Ballad of Ricky Bobby received positive reviews from critics. On Rotten Tomatoes, the film has a rating of 71%, from 184 reviews. The site's critical consensus reads: "Though it occasionally stalls, Talladega Nights' mix of satire, clever gags, and excellent ensemble performances put it squarely in the winner's circle."[5] On Metacritic, the film has a score of 66 out of 100, from 33 critics, indicating "generally favorable reviews."[6]

text: British magazine Total Film gave it a perfect five-star rating, with the following verdict: "Forget the recent blips; Ferrell is back in freewheeling form. More than just the year's funniest film, Talladega Nights is one of the best films of the year."[7] Automotive journalist Leo Parente said, "the most accurate racing film ever, trust me," while emphasizing that he was not being sarcastic.[8]

text: Box office[edit]

text: The film grossed $148.2 million in the U.S. and Canada and $14.8 million in other territories for a total worldwide gross of $163 million.[9]

text: The film grossed $47 million in its first week, earning No. 1 film at the box office. Behind The Lego Movie ($69.1 million), it is the second largest opening for a film starring Will Ferrell.

text: Home media [edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2015) (Learn how and when to remove this template message)

tag: table

text: The Blu-ray version was released on November 17, 2006. Standard DVD and PSP UMD were released on December 12, 2006. When viewing, the opening menu gives viewers choices for Super Speedway (with footage of the film used as introductions for special features, scene selection, etc.) or Short Track (without video introductions). The film is presented on standard DVD in four different configurations, giving consumers the choice between either theatrical or unrated versions and anamorphic widescreen (2.40:1 aspect ratio) or pan and scan presentations. As for the audio, each standard DVD carries Dolby Digital 5.1 tracks in English and French with optional English and French subtitles.[10]

text: Extras for the standard DVD editions include a retrospective "25 Years Later" commentary track featuring most of the main cast, deleted and extended scenes along with bonus race footage, features, interviews with Bobby, Naughton, and Carley, a gag reel, a 'line-o-rama' feature with alternate dialogue from the film, and DVD-ROM content. The unrated disc contains additional deleted scenes ("Cal Calls Ricky" and "What'd You Do Today?"), an interview with Girard and Gregory, and commercials. The "Unrated & Uncut" DVD omits two scenes that were in theaters: Bobby, as a child, steals his mother's station wagon and the happenings of Bobby's pit crew. The scenes are not present in the deleted scenes either.

text: The Blu-ray release is available on a dual-layer disc with the majority of features presented in high definition. These include: nine deleted/extended scenes, three interviews, gag reel, line-o-rama, bonus race footage, Bobby & Naughton's Commercials, Bobby & Naughton's public service announcements, Walker & Texas Ranger, Will Ferrell Returns to Talladega and a theatrical trailer. Three non-high definition extras include: Daytona 500 Spot, NASCAR Chase for the Nextel Cup Spot, and Sirius and NASCAR Spot. In terms of technical aspects, this edition carries the unrated cut and presents the film with a widescreen transfer at its 2.40:1 theatrical aspect ratio and includes Dolby Digital 5.1 tracks in English and French and an uncompressed PCM 5.1 audio track in English, along with English, French, Spanish, Chinese, Portuguese, Korean and Thai subtitles.

text: The first one million 60GB and 20GB PlayStation 3 units included a free Blu-ray copy of the film.

text: Real-world homage[edit]

text: On the final lap of the 2009 Aaron's 499 (one of two Sprint Cup Series races at Talladega Superspeedway), Carl Edwards crashed after Brad Keselowski made contact with his car on the final lap. His car turned backwards, went airborne, bounced off and crushed Ryan Newman's hood, flew into the catch fence, and came to a stop on the track apron. At this point, his car was just beyond the pit-road exit, as Keselowski and Dale Earnhardt, Jr. crossed the finish line. Edwards climbed out of his car and jogged to the finish line. He received a standing ovation from the crowd. Fox play-by-play commentator Mike Joy commented on how it was "shades of Ricky Bobby.[11]" Edwards was later asked about this on Larry King Live; he responded, "I'm kind of a Will Ferrell fan. He did that at the end of Talladega Nights."[12]

text: In May 2012 at the Aaron's 499 at Talladega, Kurt Busch's No. 51 Phoenix Racing Chevrolet was painted like Ricky Bobby's ME car. Busch and his team were heard reciting movie lines over the team radio. Busch was running up front when contact from behind sent Busch spinning.

text: In October 2013, Kurt Busch's No. 78 was sponsored by Wonder Bread for the fall race at Talladega. Its paint scheme was based on Ricky's original No. 26.[13]

text: During qualifying at the 2013 United States Grand Prix, Sebastian Vettel and his race engineer Guillaume "Rocky" Rocquelin made reference to the movie over team radio when Vettel posted the fastest lap and gained pole position. The pair referenced the movie in saying "shake and bake" over the team radio, the same phrase used by Bobby and Naughton.[14]


document_title: Mayo GAA

question_text: when was the last time mayo won the sam maguire cup

question_tokens: when was the last time mayo won the sam maguire cup

text: Mayo GAA

text: Crest, colours and supporters[edit]

text: The team's traditional colours are green and red. The Mayo jersey will commonly be mostly green, with a thick horizontal red stripe just below chest level. These colours are inspired by "The Green Above The Red", a rebel song.[5]

text: Mayo's current crest is based on the county's coat of arms, which is shown on the left. It features four crosses, each representing a diocese of the Catholic Church in Mayo. The Patriarchal or 'double' cross represents the Archdiocese of Tuam, while the three smaller Passion crosses represent Achonry, Killala and Galway/Kilmacduagh/Kilfenora. The Irish root word of the county, Maigh Eo, means "plain of the yew trees", and the trees that surround the crest represent this. As well as this, the number of trees is significant, with the nine trees representing the number of baronies in the county. The sailing ship represents the county's maritime history, while the red sea below the green hills represents the traditional "green above the red" motif of the county.[6] The Mayo GAA crest also features the Irish words Críost Linn, which translates to "Christ be with us".

text: Mayo's current sponsors are Irish sports store chain Elverys Sports. Their jerseys are provided by Irish manufacturers O'Neill's sportswear.

text: Mayo's unofficial supporters club is Mayo Club '51. Their crest is based on the current GAA crest, with the famous mountain Croagh Patrick in green and the sea beneath it in red, signifying the county's coastline. The name of the club commemorates the year that the Mayo senior footballers last won the Sam Maguire Cup, a year which is synonymous with Mayo football.

text: Traditionally a football county, Mayo have always had a large support at minor, U21 and senior level. Despite a long spell without winning the Sam Maguire Cup, Mayo fans have always had a reputation for being a colourful and loyal group of supporters.[citation needed]

text: Kit evolution[edit]

text:
Original kit

Classic kit

2009-11

2012-14

2014-16

text: Sponsorship[edit]

text: The following is a history of shirt sponsors of the Men's Mayo Senior Football team. The Mayo team are currently sponsored by Elverys Sports, previously known as Staunton's Intersport, and have been since 1999, making it one of the longest running sponsorships in the GAA.

text:
Manufacturer
Sponsor

Years
Sponsor

O'Neills

1900 - 1991
No Sponsor

1992 - 1993
Univet

1994
No Sponsor

1995 - 1998
Genfitt

1999 - 2002
Staunton's Intersport

2003 -
Elverys Sports

text: Gaelic football[edit]

text: History[edit]

text: Though not affiliated through the 1890s, there is strong evidence of GAA activity in Mayo and the rivalry with Galway that brought success to both counties from the 1930s on was already in evidence. This history between Mayo and Galway has produced two of the finest footballing teams in the game. Between them, the two teams have more than three quarters of the Connacht titles that have been contested.

text: Mayo have an unequalled number of consecutive National Football League titles. The Mayo team were champions in 1934, 1935, 1936, 1937, 1938, and 1939.

text: Early years – Mayo's first All-Ireland[edit]

text: One of the great turning points in GAA history west of the Shannon was the 1935 Connacht Final when 26,000 turned out to see National League Champions Mayo beat the All-Ireland champions Galway in Roscommon. In the 1936 Connacht Final Mayo were leading by a goal in the last minute when Brendan Nestor scored an equalising goal for Galway – he raised the flag himself and caused a riot. However, Mayo won the replay and went on to capture their first All-Ireland Title, beating Laois by 4–11 (23) to 0–5 (5) in the final. The following year, 1937, they were the victim of a Louis Blessing last-minute goal in the All Ireland Semi-Final against Cavan in another match that featured a pitch invasion. It ended Mayo's run of 57 matches without defeat. Mayo dominated the National Football League for six years, but pulled out of the 1939–40 league in a grievance over the 1939 semi-final, a bad-tempered draw and replay with Kerry. Mayo returned to the competition to win their seventh National Football League title in 1941. Unfortunately, due to World War II, the league was suspended for four seasons until 1946, and Mayo were unable to add to these successes.

text: 1940s and 1950s – Mayo's greatest ever team[edit]

text: Following Mayo's 1939 Connacht Final victory, it took the team nine years to emerge from Connacht again, but they narrowly lost the 1948 All-Ireland Final to Cavan and 1949 semi-final to Meath. However, they returned to Croke Park in 1950 to win an extraordinary All-Ireland Title when Louth's Sean Boyle had his kick-out charged down and Mick Flanagan broke through for a freak winning goal, Mayo winning the game by 2–5 (11) to 1–6 (9). In 1951 Mayo retained the All-Ireland Title, winning their third title overall, with three late points from Pádraig Carney (known as the flying doctor because he had returned from the United States to play the game) giving Mayo a 2–8 (14) to 0–9 (9) win over Meath. During this period, Mayo also won the National Football League in 1949 and 1954, their eight and ninth titles in this competition. Eight wides and a one-point defeat in the replayed 1955 All-Ireland Semi-Final against Dublin brought this particular era to an end.

text: Mayo went 12 years without winning another Connacht Championship title, until the Mayo team of the late 1960s won the Connacht Championship in 1967 (destroying Galway's 4-in-a-row All-Ireland hopes in the process) and again in 1969. Mayo also added their tenth National League Title to their collection in 1970, beating Down in the final on a scoreline of 4–7 (19) to 0–10 (10). Despite this success, the 1970s was arguably the least successful decade in the history of Mayo football, as the team failed to win a Connacht Championship title throughout the decade, coming closest when losing the 1975 final to Sligo following a replay.

text: 1980 - 1989: Mayo's return to regional prominence[edit]

text: While the team had not won an All-Ireland title since 1951, nor even qualified for the final, the 1980s saw a marked improvement in the team's fortunes. A twelve-year gap was finally bridged in 1981 when Sligo were defeated in the Connacht Final on a scoreline of 0-12 to 0-4 at McHale Park, which was followed by a heavy defeat to a great Kerry side, 1-6 to 2-19.

text: Next year, 1982, brought a heavy Connacht Final defeat at the hands of Galway in Tuam, and a rematch of the final the following year in Castlebar again saw Galway run out the victors, this time by three points. Mayo had at this stage dropped to Division 2 of the NFL and lost a promotion playoff to Roscommon in early 1984. For the third consecutive year, Galway and Mayo met in the Connacht Final, this time in Pearse Stadium, Galway. The result remained the same, with Galway completing the three-in-a-row, 2-13 to 2-9.

text: Mayo were on the opposite side of the draw to Galway in 1985, and easy victories over Leitrim (semi-final) and Roscommon in the final, saw them claim the Nestor Cup. The final was notable as it saw the retirement of Roscommon great Dermot Earley, Snr, who was chaired from the pitch by the Mayo players at the end of the match. Dublin lay in wait in the All-Ireland Semi-Final, and Mayo's first championship meeting with the Dubs since 1955 ended in a draw 1-13 to 1-13. The first match saw Mayo player John Finn's jaw broken in mysterious circumstances and tension was high for the replay. However, despite a goal from Padraig Brogan, Dublin made easy work of Mayo in the end, running out winners by eight points, 2-12 to 1-7. Despite this, the year marked as close as Mayo had come to an All Ireland Final since 1955. Dermot Flanagan, Willie Joe Padden and Kevin McStay received All Stars in recognition of their performances during the year.

text: Although 1986 saw promotion to Division 1 of the league, the championship campaign ended in disappointment with a Connacht Semi-Final defeat to Roscommon at McHale Park. The following year saw Mayo reach the Connacht Final, going down on this occasion to Galway in a low scoring match, 0-7 to 0-8. 1988 saw the team slide to Division 2, but Connacht wins over Sligo, Leitrim and Roscommon in the final saw them reach another All-Ireland Semi-Final. Reigning All-Ireland champions Meath proved too strong for Mayo, running out 0-16 to 2-5 winners, and then going on to defend their title.

text: The 1989 season saw former player John O'Mahony take over as manager, and after mixed results in the league, an epic championship ensued. After a draw in the Connacht Semi-Final against Galway in Tuam, Mayo won the replay 2-13 to 1-8 in Castlebar, with goals from Liam McHale and Anthony 'Larry' Finnerty. The final was played in Castlebar against Roscommon and this too resulted in a draw, 0-12 to 1-9. A further 70 minutes in Dr. Hyde Park a week later also could not separate the teams, with Mayo eventually running out winners 3-14 to 2-13 after extra time. A scrappy game in the All-Ireland semi-final against Tyrone ended with Mayo as winners 0-12 to 1-6, and was made famous by the iconic image of a bandaged Willie Joe Padden. Mayo's first All-Ireland Final appearance in 38 years was against Cork, runners up from the previous two seasons. Cork's experience told in the final, and despite a goal by substitute Finnerty in the middle of the second half, Cork ran out winners on a scoreline of 0–17 to 1–11. All Stars followed that year for Gabriel Irwin, Jimmy Browne, Dermot Flanagan, Willie Joe Padden and Noel Durkin.

text: 1990 - 1999: Fall and rise[edit]

text: Despite winning Connacht titles in 1992 and 1993, the early 1990s was a largely unsuccessful period for Mayo, as Connacht football in general suffered a severe drop in standards between 1990 and 1995.

text: Mayo suffered from a hangover of sorts in 1990, and the championship campaign amounted to just one outing, a 2-11 to 1-12 defeat to Galway in Tuam. The following season proved little better, as after big wins over London and Galway, Mayo faced Roscommon in the Connacht Final. A last minute free from long range by Roscommon's Derek Duggan led to a replay in Dr. Hyde Park, which saw Mayo go down by a single point, 0-13 to 1-9. John O'Mahony stepped down as manager at the end of the season, following a dispute between O'Mahony and the County Board over appointment of team selectors.

text: Former Dublin player Brian McDonald took over as manager for the 1992 season, which proved more successful for Mayo. Following a first round replay victory over Galway, Mayo got the better of Sligo in the Connacht semi-final and then Roscommon in the final. This set up a first ever meeting with Donegal in the All-Ireland Semi-Final. In what is widely regarded as one of the worst semi-finals of modern times, Donegal beat Mayo on a scoreline of 0-13 to 0-9, before going on to shock Dublin in the All-Ireland Final. TJ Kilgallon was awarded an All Star at midfield at the end of year awards. A player revolt ultimately saw McDonald pushed out, over allegations concerning his training methods, which were said to include pushing a car around a car park.

text: Former Kerry legend Jack O'Shea took over from McDonald as manager for 1993. Back-to-back Connacht titles were secured in a poor game against Roscommon, which finished 1-5 to 0-7. Humiliation followed in the All-Ireland Semi-Final against Cork, where Mayo went down by 20 points, 5-15 to 0-10. Kevin O'Neill was a rare bright spot for Mayo, and the young forward ended the year with an All Star. Despite the result, O'Shea remained in place for 1994, a campaign that culminated in defeat in the Connacht final by a Leitrim side now managed by John O'Mahony. This was only Leitrim's second ever Connacht title, and prompted O'Shea to step down.

text: Anthony Egan took over from O'Shea as manager but 1995 proved a low point for Mayo, with relegation to Division 3 of the NFL followed by an unsuccessful championship which culminated in a defeat in the Connacht final to Galway by 7 points in Tuam.

text: John Maughan, who had achieved some notable successes as manager of Clare including a 1992 Munster Championship title win, was brought in as manager in an effort to improve the team's standing. Maughan was a former Mayo player and Defence Forces officer. He was renowned for the physical fitness regime he imposed on his teams, and the improvements were swift. Mayo won Division 3 of the National League in 1996 before going on to win their third Connacht title of the decade, overcoming Galway in the final. Maughan's side produced their performance of the year in the All-Ireland Semi-Final against Kerry, winning by 2–13 to 1–10, a lobbed goal from 40 metres by James Horan in the last minute of the game sealing the victory. This was Mayo's first victory against Kerry in the championship since 1951.

text: In the All-Ireland Final against Meath Ray Dempsey's 45th-minute goal gave Mayo a lead of six points; however a Meath comeback, culminating in a last-minute Colm Coyle long-range point, saw the game end in a draw on a scoreline of 1–9 to 0–12. During a bad-tempered replay – which included a brawl in which Coyle and Liam McHale, one of Mayo's most influential players, was sent off – Mayo led by four points at half-time only to succumb to a Tommy Dowd goal, losing the game by one-point on a scoreline of 2–9 to 1–11. Mayo's efforts saw Kenneth Mortimer, Pat Holmes, James Nallen, Liam McHale and James Horan secure All Stars.

text: Mayo retained the Connacht title in 1997, beating Galway, Leitrim and Sligo in the final. The Galway win was notable as it was Mayo's first victory in Tuam in over 30 years. Mayo went on to reach their second successive All-Ireland Final following a 0–13 to 0–7 victory over the Leinster Champions, Offaly. However, Mayo again lost out in the final, losing by 0–13 to 1–7 to Kerry in a poor game illuminated by the skill of Kerry forward Maurice Fitzgerald. Mortimer was again honoured with an All Star, with only Pat Fallon joining him from the ranks of the Mayo team.

text: Mayo entered the 1998 Connacht Championship as hot favourites, but once more the spectre of John O'Mahony returned to haunt them as his Galway side ambushed Mayo in the preliminary round in Castlebar. Two goals from Ciarán McDonald couldn't prevent a 2-6 to 1-13 defeat.

text: In 1999 Mayo returned to Division 1 of the National Football League and another Connacht title (Mayo's fifth of the decade) followed, after wins over New York, Roscommon and Galway in the final. However, Mayo failed to reach another All-Ireland Final falling to Cork 2-12 to 0-12 in the semi-final. James Horan secured and All Star and manager John Maughan resigned after four tumultuous seasons.

text: 2000 - 2009: Success and failure[edit]

text: Pat Holmes came on board as manager for the 2000 season, but his managerial career got off to a poor start with a first round defeat in the Connacht Championship against Sligo. The National Football League provided some relief however, and when the matches resumed in the spring of 2001 Mayo won their eleventh National Football League title, beating archrivals Galway in the final on a scoreline of 0–13 to 0–12 courtesy of a late point from substitute Marty McNicholas, in what was the only national final played between the two western rivals. This was Mayo's first national title since the NFL victory in 1970. Unfortunately, league success did not transfer to the championship and Mayo lost the Connacht Final to Roscommon following a last minute goal by Gerry Lohan. The introduction of the qualifier system that year meant Mayo got a second chance against Westmeath. This also ended in defeat for Mayo, albeit after extra time, on a scoreline of 1-14 to 0-16.

text: The 2002 Championship again got off to a bad start for Mayo, with defeat in their first game against Galway. Into the qualifiers once more, Mayo fared better this time with wins over Roscommon, Limerick and Tipperary, facing the latter duo for the first time in the championship. In the All-Ireland Quarter Final (the quarter final staqe having been added to the championship in 2001), Cork again provided the opposition, Mayo again losing out 0-16 to 1-10.

text: Mayo's failure to win a Connacht title under Holmes and his departure at the end of the 2002 season paved the way for John Maughan's return for a second stint as manager of the team. His first season in charge was not particularly successful however, with Mayo eventually falling to Fermanagh in the last 12 of the championship following a Connacht Final defeat to Galway.

text: In 2004, Mayo regained the Connacht title with ease following facile wins over New York, Galway and Roscommon, with none of these teams able to finish their matches within five points of Mayo. Mayo followed this success with a surprise victory over reigning All-Ireland Champions Tyrone in the All-Ireland Quarter Final on a scoreline of 0–16 to 1–09. However, Mayo's form rapidly deteriorated following this win, and the team struggled to see off surprise semi-finalists Fermanagh following a replay before losing the All-Ireland Final to Kerry by eight points on a scoreline of 1–20 to 2–9. James Nallen and Ciarán McDonald made the All Stars team that year.

text: Mayo failed to retain their Connacht title in 2005 losing to Galway in the final. A three-point victory over Cavan in the qualifiers led to a three-point All-Ireland Quarter-Final defeat to Kerry, bringing to an end Maughan's second spell as manager.

text: In 2006, Mickey Moran became Mayo's first manager from outside the county since Jack O'Shea managed the team in the early 1990s. Moran guided the team to another Connacht title, beating Galway by a point in the final. Following an unconvincing replay victory over Laois in the All-Ireland Quarter-Final, in the Semi-Final against Dublin Mayo produced arguably their greatest performance since the defeat of Kerry ten years previously. Even before the game started tensions were raised by Mayo warming up into the Hill 16 end. They were soon joined by Dublin, and some jostling occurred between players and management teams. The match itself was of high quality and resulted in Mayo coming from seven points behind with 20 minutes remaining to defeat favourites Dublin on a scoreline of 1–16 to 2–12. Ciarán McDonald's winning point from under the Hogan Stand was a particular highlight. Kerry again awaited Mayo in the All Ireland Final and for the third time in 10 years they defeated Mayo, this time on a scoreline of 4–15 to 3–5. Alan Dillon won his first All Star award, as did Conor Mortimer, joining his brother Kenneth as an award winner. Despite the relative success of the 2006 season, rumours persisted of divisions between Moran and the Mayo County Board and Moran was not retained as manager for the 2007 season.

text: In 2007, John O'Mahony returned as Mayo manager following a 16-year absence during which he had won a Connacht title with Leitrim (1994) as well as two All-Ireland titles with Galway (1998 and 2001) and in his first season led the team to the National League Final, where they were defeated by Donegal. Well beaten by Galway in the Connacht Final, they exited the Championship in the second round of the Qualifiers at the hands of Derry in Celtic Park, Derry, a game in which Ciarán McDonald made his final appearance for Mayo off the bench.

text: In 2008, after losing the Connacht final by a point once more to Galway, they were narrowly beaten by eventual All Ireland Champions Tyrone in the Qualifiers, 0-13 to 1-9. An injury time point by Peader Gardiner saw Mayo win their first Connacht title since O'Mahony's return, and their 42nd title overall, when they beat Galway in the 2009 Connacht Final on a scoreline of 2–12 to 1–14. However, defeat to Meath followed in the All-Ireland Quarter Final, 2-15 to 1-15.

text: 2010 - present: The Horan years and after[edit]

text: 2010 was a nadir for Mayo; despite reaching the National League Final, they were beaten by Cork, and defeat in the Connacht Championship first round by Sligo was followed up by an All-Ireland Qualifier Round 1 loss to Longford. John O'Mahony immediately stepped down as Mayo manager following the game. The return of 'Johnno' had promised much, but only a single Connacht title was won in that tenure, and the county suffered a number of poor defeats in the Qualifiers.

text: O'Mahony was replaced by James Horan for the 2011 campaign. Horan had won a Mayo Senior Football Championship with Ballintubber as manager the previous year. After suffering a scare in London in the first round of the 2011 Connacht Championship, Mayo won that years Championship by beating Roscommon in a rain sodden Dr. Hyde Park. Mayo were underdogs going into the All-Ireland Quarter Final against reigning All-Ireland Champions Cork, but won by four points. The Championship ended at the Semi-Final stage with a nine-point defeat to Kerry, but the improved performances augured well for the future. [7] Andy Moran was subsequently selected at full-forward on the All Stars team.

text: Mayo reached the final of the National Football League in 2012, but lost out to Cork 2-10 to 0-11. Mayo retained the Connacht title with wins over Leitrim and Sligo before defeating Down in the Quarter Final. Facing reigning champions Dublin in the Semi Final, Mayo survived a Dublin fightback to win 0-19 to 0-16 and reach their first final since 2006. Conceding two goals in the first eleven minutes, Mayo lost the 2012 All-Ireland Senior Football Championship Final to Donegal by 2-11 to 0-13. Four Mayo players earned All Stars, first timers Ger Cafferkey, Keith Higgins and Lee Keegan being joined by Alan Dillon for his second.

text: In 2013, Mayo easily won their third consecutive Connacht Championship, defeating Galway by 17 points, Roscommon by 12 points and London by 16 points, in what was a novel final. They gained revenge against Donegal for the previous year in the Quarter Final, running out winners 4-17 to 1-10. A 6-point win over Tyrone saw Mayo return to the final, this time to face Dublin. A close game saw Dublin win by a single point on a scoreline of 2-12 to 1-14.[8] Higgins and Keegan won their second All Stars, along with a first for Colm Boyle and Aidan O'Shea.

text: Entering his fourth year as manager, Horan guided Mayo to another Connacht title after wins over New York, Roscommon and a final victory over Galway, 3-14 to 0-16. A one-point win over Cork led to Semi-Final match up against Kerry. A fantastic second half performance led to Mayo leading by 5 points going into the last five minutes, however a Kieren Donaghy goal saw the game end in a draw, 1-16 apiece. Controversially, the replay was fixed for Limerick's Gaelic Grounds due to the unavailability of Croke Park owing to an American Football game taking place there. Another epic match ensued, with the sides once more all square after 70 minutes. Kerry managed to pull away in extra-time, eventually winning 3-16 to 3-13. James Horan stepped down immediately afterwards, having done much to restore the pride to Mayo football, albeit falling just short of winning the All-Ireland. Keith Higgins won his third All Star in a row, with Colm Boyle taking his second and Cillian O'Connor his first.

text: Mayo began 2015 with new joint managers Pat Holmes and Noel Connelly. Defeating Galway in the semi-final, a 6-25 to 2-11 win over Sligo saw Mayo win a record-breaking fifth consecutive Connacht title. Another Quarter Final defeat of Donegal saw Mayo matched once more against Dublin in the semi-final. Seven points down with five minutes to go, a Cillian O'Connor penalty helped Mayo force a draw, 1-15 to 2-12. The replay was played at a high tempo, but after an even first half, Dublin pulled away in the second half to win by 7 points, 3-15 to 1-14. Lee Keegan was selected for his third All Star, and Aidan O'Shea for his second. The winter again saw controversy envelop Mayo, as a player protest against the management led to the resignation of the management team of Holmes and Connelly.

text: Stephen Rochford was selected as Mayo manager for 2016, and a poor league campaign nonetheless saw the side stay in Division 1 of the league for an 18th consecutive year. Going for a sixth successive Connacht title, hot favourites Mayo were shocked in the semi-final by Galway, who ran out winners 0-12 to 1-12. However, Mayo battled through the Qualifiers with unconvincing wins against Fermanagh, Kildare and Westmeath to reach a Quarter Final against Tyrone. In a tight game, Mayo won by a point 0-13 to 0-12. Surprise packets Tipperary awaited in the Semi-Final, which Mayo won 2-13 to 0-14 to set up an All-Ireland Final meeting with Dublin. The game ended in a draw, Mayo battled back after conceding two unfortunate own goals from Kevin McLoughlin and Colm Boyle. Cillian O'Connor got a 77th minute equalising point to bring it to a replay, the game finishing 0-15 to 2-09 The replay ended yet another All-Ireland Final defeat by a single point. Cillian O'Connor had the chance with a free to bring the game to extra time in the 76th minute he missed it. It finished 1-15 to 1-14.

text: It took them eight games to get to the All-Ireland final in 2017. A bad start turned into a rollercoaster, and after their loss to Galway would need extra time in two matches to ultimately end up in the final. After a quick concession of a goal to Dublin, Mayo took grip of the final and were in control for most of the first half, leading by a point at half time. However Dublin bounced back and a late free deep into extra time would see Dublin edge out winners, on a score line of 1-17 to 1-16, beating Mayo by a point for the second year in a row.

text: The 1951 curse[edit]

text: Since the 1990s, a sports curse story has circulated that Mayo will not win another All-Ireland until all members of the 1951 team have died.[9] The supposed cause was that the 1951 champions, returning through Foxford in a coach or lorry, passed a funeral cortège without respectfully suspending their boisterous celebrations, and were cursed by either the priest, the bereaved spouse, or a Traveller.[9] Folklorist Arlene Crampsie, who conducted interviews in Mayo for the 2008–2012 GAA Oral History Project, found that participants had no interest in the story and regarded it as "recently contrived nonsense" spread by the media in the wake of multiple recent near-misses.[9] In a 2016 TG4 documentary, the two surviving 1951 players dismissed the story.[10]

text: Player Awards[edit]

text: All Stars[edit]

text: The annual GAA All Stars Awards recognise the players considered to be the best in their selected positions in the country in any given year. The awards were instituted in 1971 and Mayo's John Carey was among the inaugural selection in that year. Despite winning only two awards in total during their unsuccessful 1970s period, Mayo have been one of the most successful teams nationally in terms of All Star awards gained, with Mayo players winning 42 awards to date. Willie Joe Padden and Dermot Flanagan became the first Mayo players to win multiple awards, both winning their second awards in 1989. Kenneth Mortimer achieved the same feat in 1997, as did James Horan in 1999 and James Nallen in 2004. Mortimer became the first Mayo player to win back to back awards, winning in both 1996 and 1997, a feat matched by Colm Boyle (2013, 2014) and Lee Keegan (2012, 2013), and exceeded by Keith Higgins, who completed three-in-a-row in 2014. Kenneth and Conor Mortimer became the first Mayo siblings to win awards when Conor won an All Star in 2006.

text:
Year
Player
Position

1971
Johnny Carey
Right-Full Back

1979
Joe McGrath
Left-Full Forward

1985
Dermot Flanagan
Left-Full Back

Willie Joe Padden
Midfield

Kevin McStay
Right-Full Forward

1989
Gabriel Irwin
Goalkeeper

Jimmy Browne
Right-Full Back

Dermot Flanagan
Left-Full Back

Wille Joe Padden
Midfield

Noel Durkin
Left-Half Forward

1992
TJ Kilgallon
Midfield

1993
Kevin O'Neill
Right-Half Forward

1996
Kenneth Mortimer
Right-Full Back

Pat Holmes
Right-Half Back

James Nallen
Centre-Half Back

Liam McHale
Midfield

James Horan
Left-Half Forward

1997
Kenneth Mortimer
Right-Full Back

Pat Fallon
Midfield

1999
James Horan
Left-Half Forward

2004
James Nallen
Centre-Half Back

Ciarán McDonald
Centre-Half Forward

2006
Alan Dillon
Left-Half Forward

Conor Mortimer
Right-Full Forward

2011
Andy Moran
Full Forward

2012
Ger Cafferkey
Full Back

Keith Higgins
Left-Full Back

Lee Keegan
Right-Half Back

Alan Dillon
Centre-Half Forward

2013
Keith Higgins
Left-Full Back

Lee Keegan
Right-Half Back

Colm Boyle
Left-Half Back

Aidan O'Shea
Midfield

2014
Keith Higgins
Left-Full Back

Colm Boyle
Left-Half Back

Cillian O'Connor
Right-Corner Forward

2015
Lee Keegan
Right-Half Back

Aidan O'Shea
Full-Forward

2016
David Clarke
Goalkeeper

Brendan Harrison
Right-Full Back

Lee Keegan
Right-Half Back

Colm Boyle
Centre-Half Back

text: Young Footballer of the Year[edit]

text: The GAA & GPA All Stars Young Footballer of the Year (often called simply Young Footballer of the Year) is an annual award given at the end of the Championship season to a young footballer under the age of 21 who is adjudged to have been the best in Gaelic football. Players from Mayo have won this award more times (4) than players from any other county since the award was instituted in 1997. Cillian O'Connor is the only multiple winner ever of the award, and with his brother Diarmuid winning in 2015, they are also the only set of brothers to win the award.

text:
2006 - Keith Higgins
2011 - Cillian O'Connor
2012 - Cillian O'Connor
2015 - Diarmuid O'Connor
2016 - Diarmuid O'Connor

text: Team of the Century and Team of the Millennium[edit]

text: The Team of the Century was nominated in 1984 by Sunday Independent readers and selected by a panel of experts including journalists and former players.[11] It was chosen as part of the Gaelic Athletic Association's centenary year celebrations. Two Mayo players were chosen on the team. These were Seán Flanagan at Left-Corner-Back and Tommy Langan at Full-Forward.

text: Similarly The Team of the Millennium was a team chosen in 1999 by a panel of GAA past presidents and journalists. The goal was to single out the best ever 15 players who had played the game in their respective positions, since the foundation of the GAA in 1884 up to the Millennium year, 2000. Both Flanagan and Langan were also selected on this team, occupying the same positions.

text: Current football squad[edit]

text:
Manager: Stephen Rochford
Selectors: Donie Buckley, Seán Carey, Tony McEntee

text:
No.
Player
Position
Club

1
David Clarke
Goalkeeper
Ballina Stephenites

2
Brendan Harrison
Right Corner Back
Aghamore

3
Donal Vaughan
Full Back
Ballinrobe

4
Keith Higgins
Left Corner Back
Ballyhaunis

5
Lee Keegan
Right Half Back
Westport

6
Chris Barrett
Centre Back
Belmullet

7
Colm Boyle
Left Half Back
Davitts

8
Séamus O'Shea
Midfield
Breaffy

9
Tom Parsons
Midfield
Charlestown Sarsfields

10
Kevin McLoughlin
Right Half Forward
Knockmore

11
Aidan O'Shea
Centre Half Forward
Breaffy

12
Diarmuid O'Connor
Left Half Forward
Ballintubber

13
Jason Doherty
Right Corner Forward
Burrishoole

14
Cillian O'Connor (c)
Full Forward
Ballintubber

15
Andy Moran
Left Corner Forward
Ballaghadereen

No.
Player
Position
Club

16
Rob Hennelly
Substitute
Breaffy

17
Ger Cafferkey
Substitute
Ballina Stephenites

18
Patrick Durcan
Substitute
Castlebar Mitchels

19
Stephen Coen
Substitute
Hollymount-Carramore

20
David Drake
Substitute
Ballaghadereen

21
Shane Nally
Substitute
Garrymore

22
Danny Kirby
Substitute
Castlebar Mitchels

23
Conor Loftus
Substitute
Crossmolina Deel Rovers

24
Conor O'Shea
Substitute
Breaffy

25
Barry Moran
Substitute
Castlebar Mitchels

26
Alan Dillon
Substitute
Ballintubber

text: Squad as per Mayo v Dublin, 2017 All-Ireland Senior Football Championship Final, 17 September 2017

text: Honours[edit]

text:
3 All-Ireland Senior Football Championships

1936, 1950, 1951

5 All-Ireland Junior Football Championships

1933, 1950, 1957, 1995, 1997

5 All-Ireland Under-21 Football Championships

1967, 1974, 1983, 2006, 2016

7 All-Ireland Minor Football Championships

1935, 1953, 1966, 1971, 1978, 1985, 2013

4 All-Ireland Vocational Schools Championships

1971, 1975, 1982, 1999

11 National Football Leagues

1934, 1935, 1936, 1937, 1938, 1939, 1941, 1949, 1954, 1970, 2001

46 Connacht Senior Football Championships

1901, 1903, 1904, 1906, 1907, 1908, 1909, 1910, 1915, 1916, 1918, 1920, 1921, 1923, 1924, 1929, 1930, 1931, 1932, 1935, 1936, 1937, 1939, 1948, 1949, 1950, 1951, 1955, 1967, 1969, 1981, 1985, 1988, 1989, 1992, 1993, 1996, 1997, 1999, 2004, 2006, 2009, 2011, 2012,[12] 2013,[13] 2014,[14] 2015[15]

39 Connacht Minor Football Championships

1930, 1931, 1933, 1934, 1935, 1936, 1940, 1946, 1947, 1950, 1953, 1954, 1955, 1957, 1958, 1961, 1962, 1963, 1964, 1966, 1971, 1973, 1974, 1977, 1978, 1979, 1980, 1985, 1991, 1996, 1997, 1999, 2000, 2001, 2008, 2009, 2010, 2013,[16] 2014[17]

24 Connacht Under-21 Football Championships

1967, 1968, 1970, 1971, 1973, 1974, 1975, 1976, 1980, 1983, 1984, 1985, 1986, 1994, 1995, 1997, 2001, 2003, 2004, 2006, 2007, 2008, 2009, 2016[18]

30 Connacht Junior Football Championships

1907, 1913, 19141924, 29125, 1927, 1930, 1933, 1934, 1936, 1937, 1950, 1951, 1953, 1955, 1957, 1963, 1967, 1968, 1970, 1971, 1993, 1995, 1997, 2001, 2002, 2007, 2012,[19] 2015,[20] 2016[21]

text: All-Ireland Senior Football Championship Final Record[edit]

text:
Year
Date
Winner
Score
Loser
Score
Venue
Attendance
Winning Margin

1916
17 December
Wexford
3-4
Mayo
1-2
Croke Park
3,000
8

1921
17 June 1923
Dublin
1-9
Mayo
0-2
Croke Park
16,000
10

1932
25 September
Kerry
2-7
Mayo
2-4
Croke Park
25,816
3

1936
27 September
Mayo
4-11
Laois
0-5
Croke Park
50,168
18

1948
25 September
Cavan
4-5
Mayo
4-4
Croke Park
74,645
1

1950
24 September
Mayo
2-5
Louth
1-6
Croke Park
76,174
2

1951
23 September
Mayo
2-8
Meath
0-9
Croke Park
78,201
5

1989
17 September
Cork
0-17
Mayo
1-11
Croke Park
65,519
3

1996
15 September
Meath
0-12
Mayo
1-9
Croke Park
65,898
n/a (Draw)

1996
29 September
Meath
2-9
Mayo
1-11
Croke Park
65,802
1 (Replay)

1997
28 September
Kerry
0-13
Mayo
1-7
Croke Park
65,601
3

2004
26 September
Kerry
1-20
Mayo
2-9
Croke Park
79,749
8

2006
17 September
Kerry
4-15
Mayo
3-5
Croke Park
82,289
13

2012
23 September
Donegal
2-11
Mayo
0-13
Croke Park
82,269
4

2013
22 September
Dublin
2-12
Mayo
1-14
Croke Park
82,274
1

2016
18 September
Dublin
2-9
Mayo
0-15
Croke Park
82,257
n/a (Draw)

2016
1 October
Dublin
1-15
Mayo
1-14
Croke Park
82,249
1 (Replay)

2017
17 September
Dublin
1-17
Mayo
1-16
Croke Park

1

text: Hurling[edit]

text: Although not a traditional hurling county, hurling is strong in certain parts of the county especially in the eastern region around Ballyhaunis and Tooreen. There are 6 Senior hurling clubs in Mayo, who compete for the TJ Tyrell Senior Hurling Championship each year. These 6 clubs are Tooreen, Ballyhaunis, Castlebar Mitchels, Westport, Ballina-James Stephens and Belmullet. Ballyhaunis are the reigning Senior Champions and have 6 senior titles, while Tooreen hold the most titles with 26.

text: These 6 clubs provide the players to the Mayo Senior hurling panel, who take part in the National Hurling League and in the All-Ireland Christy Ring (Tier 2) Cup. Mayo's best performances in the Christy Ring Cup came in 2008 and 2009, when the Mayo side fell at the semi-final stage to Carlow and Down respectively. The Mayo U-21 hurling team compete in the Connacht U-21B hurling championship each year along with Roscommon, Sligo and Leitrim.

text: Hurling at underage level is also expanding in Mayo, with 10 clubs competing in underage leagues and championships in the county. As well as the 6 adult sides named above, 4 other underage clubs have formed in recent years. These clubs are Ballyvary, Moytura, Caiseal Gaels and Claremorris. These 10 clubs provide the players for the Mayo underage hurling development panels. Mayo have development panels at U14, U15, U16 and Minor age-groups, and compete in the All-Ireland 'B' competitions each year.

text: Mayo's most famous hurlers are Joe Henry (Tooreen), who won Railway Cup medals with Connacht in the 1980s, and current dual player Keith Higgins (Ballyhaunis) who played for the Mayo football team in the All-Ireland football final in 2006, 2012, 2103 and 2016.

text: Hurling in Mayo is administered by the Mayo GAA Hurling Committee, which is a sub-committee of the Mayo GAA County Board. In 2016 Mayo won the Nicky Rackard cup beating Armagh 2-16 to 1-15 in Croke Park

text: Current hurling squad[edit]

text: Manager: JP Coen

text:
No.
Player
Position
Club

1
Donal O'Brien
Goalkeeper
Ballyhaunis

2
Brian Hunt
Right Corner Back
Ballyhaunis

3
Aiden Connolly
Full Back
Westport

4
Eoghan Collins
Left Corner Back
Ballyhaunis

5
Declan Gallagher
Right Half Back
Westport

6
David Kenny
Centre Back
Tooreen

7
Ciaran Finn
Left Half Back
Tooreen

8
Kieran McDermott
Midfield
Ballyhaunis

9
Padraig O’Flynn
Midfield
Castlegar (Galway)

10
Austin Lyons
Right Half Forward
Ballyhaunis

11
Kenny Feeney
Centre Forward
Tooreen

12
Fergal Boland
Left Half Forward
Tooreen

13
Stephen Hoban
Right Corner Forward
Ballyhaunis

14
Sean Regan
Full Forward
James Stephens

15
Darren McTigue
Left Corner Forward
Castlebar Mitchels

No.
Player
Position
Club

16
Davog Freyne
Substitute
Tooreen

17
Adrian Brennan
Substitute
Ballyhaunis

18
Shane Boland
Substitute
Tooreen

19
Kieran Kiely
Substitute
Ballyhaunis

20
Luke Cribben
Substitute
Ballyhaunis

21
Fergal Lyons
Substitute
Ballyhaunis

22
Gary Nolan
Substitute
Tooreen

23
Shane Morley
Substitute
Tooreen

24
Joe Ganley
Substitute
Tooreen

25
David Garrison
Substitute
Tooreen

26
Corey Scahill
Substitute
Castlebar Mitchels

text: Squad as per Mayo vs Derry, Christy Ring Cup Round 1, May 2, 2015

text: Honours[edit]

text:
3 All-Ireland Junior Hurling Championships

1980, 1981, 2003

2 All-Ireland Minor 'C' Hurling Championships

2013, 2014

1 Connacht Senior Hurling Championship

1909

1 Nicky Rackard Cup

2016

2 Connacht Intermediate Hurling Championship

1969, 2014

3 Connacht Junior Hurling Championships

1936, 1967, 2004

1 Connacht Minor Hurling Championships

1964

text: Ladies' Gaelic football[edit]

text: This section needs expansion. You can help by adding to it. (June 2008)

text: Honours[edit]

text:
4 All-Ireland Senior Ladies' Football Championships

1999, 2000, 2002, 2003

Twice All-Ireland Senior Ladies' Football Finalists

2001, 2007

1 All-Ireland Junior Ladies' Football Championship

1987

1 All-Ireland Intermediate Ladies' Football Championship

1993

1 All-Ireland Under-18 Ladies' Football Championship

1987

2 All-Ireland Under-16 Ladies' Football Championships

1976, 2010

2 All-Ireland Under-14 Ladies' Football Championships

1994, 2010

text: Camogie[edit]

text: Mayo contested the All-Ireland Senior Camogie Championship final of 1959, captained by Josie Ruane from Menulla. Na Brídeoga won the Coiste Chontae an Chláir Shield at Féile na nGael in 2009, Parke (1983) and Ardagh (1988) had previously won divisional honours.

text: The county hosted the 2007 Máire Ní Chinnéide Cup.[22]

text: Under Camogie's National Development Plan 2010–2015, “Our Game, Our Passion,”[23] Donegal, Kerry, Mayo and Monaghan are to get a total of 14 new clubs by 2015.[24]

text: Notable Players[edit]

text:
Gabriel Irwin
Ciarán McDonald
Liam McHale
Colm McManamon
Michael Moyles
Willie Joe Padden
Stephen Rochford
Andy Moran

text: Supporter Songs[edit]

text:
Boys from the County Mayo - Margo
Hay Wrap - The Saw Doctors
In the Name of Mayo - The Duffys
The Green and Red of Mayo - The Saw Doctors
To Win Just Once - The Saw Doctors
Mayo are Back - Mike Denver
This will be our year Nicole Gannon

text: Further reading[edit]

text:
Clune, M. A. (1954) Mayo's Football Triumphs. Dublin: Pearse Press
Reilly, Terry & Neill, Ivan (1985) The Green Above the Red: a compilation of Mayo's All-Ireland triumphs at all levels. Ballina: Western People