Best Films Ever #7 “The Sound of Music”

the-sound-of-music-poster

Best Films Ever #7 “The Sound of Music”
Post Created by Jk the secret keeper
Review Written by Jennifer Kiley
Original Post Created Sunday 6th October 2013
Reposted with Changes On Friday 22nd November 2013
FILM FRIDAY

dedicated to roger ebert film friday

5 stars

“The Sound of Music” is my favorite movie of all time. It has major sentimental meaning to me. Rather then my reviewing it. I would like to share the images and video tapes from the film. The photos are in order as they appear in the film. I believe in my extensive search, I found almost all the shots I could find, which fit almost every scene in the movie with a few exceptions. Don’t want to give it all away for those who haven’t seen it.

I do recommend if you are planning on renting or streaming “The Sound of Music” you may want to reconsider viewing this post until later but then, the images are so delightful, you may not want to put it off. I do realize a great many people have seen this film and are just as invested in it as I am. It is great for everyone. I am an avid Julie Andrews fan and will never get enough of her film roles and her singing. I find when she is singing for a role her voice lent a certain depth to it.

I plan on using some assorted dialogue and descriptions of what is occurring. I worked on putting this together in reverse. With all the shots and videos collected, I placed the last photos first and fit in the videos where I felt they best fit. As I said, this is my favorite film of all time so I do know it frontwards and backwards. And I am testing myself by writing this review from the memory of all the times I viewed it. Let’s see how accurate I can get. After I am finished, I will then watch the film and see how I did.

That means I am pulling out all the dialogue from inside my head and testing my memory from the plus 100 times I have seen this film. You would think I would be bored from seeing something that many times. Absolutely not. This film was the savior of my childhood. It was one of my escapes. I went to everything theatre I could find where it was showing. When I was a kid films stayed forever in one place. It grossed more money in its day in ticket sales and if compared to todays prices I believe it is second or third place in sales for all times. Keep in mind, there weren’t as many people born back in 1964. It just kept drawing people into the theatres. I saw it in my home state and I saw it in New York City.

Once it hit television, I watched it every year, until the VCR and Video Tapes. It probably was the first film I purchased on Video and on DVD. I have purchased different versions of it as the technology has improved. Next is to, hopefully, receive a present of it in Blu-Ray over the Holidays or as an unholiday, unbirthday present. We’ll see. Hint! Hint! Hint!

So lets begin the tale as the opening of the film is the cameras sweeping over the mountains of Austria, into the valleys, hearing birds and wind, until we come on the scene where Maria, our heroine, is dancing and singing on the hilltops, twirling about so carelessly. She is a postulate at the Abby near by and not terribly successful at it.

the_sound_of_music_1st sight of maria on mtn

The Sound of Music – Julie Andrews

In this scene, Julie keeps getting flattened by the helicopters, so Robert Wise, the director, has to do take after take. Julie loves sharing this story in many of her interviews.

The Sound of Music

Review by Jennifer Kiley

the sound of music problem like maria nuns rev only

the sound of music rev mother & sister nun played by anna lee

“How Do You Solve a Problem Like Maria?” A great song. It describes Maria to a perfect degree as you will see in the animated image of her arrival back to the Abby after singing in the hills.

The-Sound-of-Music-gif-julie-andrews-in abbey after getting back from mtn top

Maria & Reverend Mother visit privately in the Reverend Mother’s private office.

Maria: Which brings me to another transgression Reverend Mother. I was singing out there today without permission.

Reverend Mother: Maria, it is only here in the Abbey that we have rules about postulate singing.

Maria: I can’t seem to stop singing wherever I am. And what’s worse, I can’t keep to stop saying things . . . everything and anything I think and feel.

Reverend Mother: Some people would call that honesty.

Maria: Oh, but it’s terrible Reverend Mother. You know how Sister Berthe always makes me kiss the floor after we’ve had a disagreement? Well, lately I’ve taken to kissing the floor when I see her coming . . . just to save time.

Outside the Abby, Maria looks around as she leaves.

Maria: Where God closes a door, somewhere else he opens a window.

the sound of music on way to von trapp home

On the way to the von Trapp home, Maria sings the song “I Have Confidence,” the build up her courage. After all, she is about to face a daunting fate. A governess for seven children and ones who don’t like governesses.

the sound-of-music maria leaning on stone wall i have confidence

the_sound_of_music_at closed gate i have confidence

the sound of music maria i have confidence ready to charge mansion

the soundofmusic 1st meeting 4 all

thesoundofmusic kids lined up 4 whistle lessons for maria

After the Captain uses his whistle to show Maria what their individual whistle call sounds like, he proceeds to show Maria her whistle sound.

Captain: Now, when I want you, this is what you will hear.

[blows whistle]

Maria: Oh, no, sir. I’m sorry, sir. I could never answer to a whistle. Whistles are for dogs and cats and other animals, but not for children and definitely not for me. It would be too… humiliating.

Captain von Trapp: Fraulein, were you this much trouble at the Abbey?

Maria: Oh, much more, sir.

Captain von Trapp: Hmm.

[starts walking away. Maria blows her whistle & he turns around]

Maria: Excuse me, sir. I don’t know your signal

Maria: Whistles are for dogs and cats but not for children and especially not for me.

the_sound_of_music_maria meeting the children after captain leaves

Maria asks the children to once again tell her their names and something about themselves. Louisa tries to trick her but she is way to smart. She re-identifies Brigitta and Louisa.

Brigitta: You’re smart. My names Brigitta and I think that is the ugliest dress I’ve ever seen.

The children debate the question but mischief is afoot. Maria makes a huge mistake.

Maria: I’ve never been a governess before. You’ll have to teach me.

The children proceed to tell her all the wrong things to do. She is just a governess and they don’t want one. SO they treat Maria equally as bad as the other governesses.

the sound of music finding the frog in pocket on stairs

Maria: Poor children.

In less than a moment she is throwing into the air as gently as possible a frog she found in her pocket.

Frau Schmidt: With the last governess it was [snakes or spiders].

the sound of music at dinner 2st night maria thanking kids 4 there lovely welcome earlier

After Fraulein Maria sits down in her second attempt, she speaks.

Maria: I’d like to thank you all for the precious gift you left in my pocket today.

Captain: What gift?

Maria: It’s meant to be a secret between the children and me.

Captain: Then I suggest you keep it, and let us eat.

Maria: Knowing how nervous I must have been, a stranger in a new household, knowing how important it was for me to feel accepted, it was so kind and thoughtful of you to make my first moments here so warm and happy and pleasant.

A bit of weeping breaks out amongst the children.

som dinnerscene captain

Captain von Trapp: Fraulein, is it to be at every meal, or merely at dinnertime, that you intend on leading us all through this rare and wonderful new world of… indigestion?

Maria: Oh, there just happy Captain. [The children break out into a full out cry, feeling badly about the tricks they have played on her.] When she was just trying to get them to like her.

the sound of music rolf & liesl in gazebo

A secret rendezvous in the gazebo between Liesl and Rolf. He delivers telegrams at certain times in hopes of seeing her.

the sound of music maria in bed w two youngest waiting 4 older kids

A thunderstorm has struck and the sound of thunder is scary for all the kids. Maria sings a song about “My Favorite Things” to try and comfort them.

the sound of music maria thinking of her fav things w kids on bed leaning in

My Favorite Things – Julie Andrews

the sound-of-music-my fav things on bed thunderstorm

Captain enters Maria’s bedroom to find out what is making all the racket.

som maria bedroom captain thunderstorm

Captain: Fraulein Maria, did I or did I not say that bedtime is to be strictly observed in this household?

Maria: Yes, well the children were scared of the thunderstorm and… You did, sir.

Captain: And do you or do you not have trouble following these simple instructions?

Maria: Only during thunderstorms, sir.

The Captain reminds her he is leaving in the morning to visit the Baroness. Maria asks him for some material to make play clothes for the children. His answer was a no, they have their uniforms. But we all can sense how resourceful Maria will be.

The Sound of Music  Julie Andrews on mtn eating b4 do re mi

the sound of music maria w friedrich & guitar standing preparing to teach them singing

the SoundofMusic maria w children on mtn teaching them how to sing

the_sound_of_music_film_do_re_mi riding bikes

Maria, while they are on outing, begins to teach the children how to sing. Another one of the many things that have been neglected to bring joy into their lives.

the SoundOfMusic maria hitting high note at end of do re mi

the sound of music kids in trees cant see captain baroness max driving to mansion

the sound of music kurt heil to captain after getting nervous wanting to see liesel

Rolfe gets nervous when he is caught throwing stones at Liesl’s window. The Captain reprimands him after he raises his arm in a Nazi salute of Heil. The Captain grabs the telegram. All is hell is about to be breaking loose in Austria. The Captain’s home. He yells at Max for his careless comment about not caring. His mind starts to drift off into the prospect of his Austria disappearing. Suddenly the sound of laughter and singing coming from the water just across the lawn from where they are on the patio.

the sound of music all getting out of the water to meet the baroness

the sound of music kids dripping wet after maria & all tip boat over

kinopoisk.ru

Maria: Children can’t do all the things they’re supposed to if they have to worry about spoiling their precious clothes.

Captain: They haven’t complained yet.

Maria: Well, they wouldn’t dare! They love you too much. They *fear* you too much!

Captain: I don’t wish you to discuss my children in this manner.

Maria: Well, you’ve got to hear from someone! You’re never home long enough to know them.

Captain: I said I don’t want to hear anymore from you about my children!

Maria: I know you don’t, but you’ve got to! Now, take Liesl.

Captain: [hesitatingly] You will not say one word about Liesl, Fraulein.

Maria: She’s not a child anymore, and one of these days, you’re going to wake up and find that she’s a woman. You won’t even know her. And Friedrich, he’s a boy, but he wants to be a man and there’s no one to show him how.

Captain: Don’t you dare tell me about my son.

Maria: Brigitta could tell you about him if you let her get close to you. She notices everything.

Captain: Fraulein…

Maria: And Kurt pretends he’s tough not to show how hurt he is when you brush him aside,

Captain: That will do!

Maria: the way you do all of them. Louisa I don’t even know about yet,

Captain: I said that will do!

Maria: but somebody has to find out about her, and the little ones just want to be loved. Oh, please, Captain, love them! Love them all!

Captain: I don’t care to hear anything further from you about my children.

Maria: I am not finished yet!

Captain: Oh, yes, you are, Captain!

[pauses]

Captain: Fraulein.

——-

Captain: Now, Fraulein. I want a truthful answer from you.

Maria: Yes, Captain?

Captain: Is it possible – or could I have just imagined it – have my children by any chance been climbing trees today?

Maria: Yes, Captain.

Captain: I see. And where, may I ask, did they get these… ummm…

Maria: Play clothes.

Captain: Oh, is that what you call them?

Maria: I made them. From the drapes that used to hang in my bedroom.

Captain: Drapes?

Maria: They still have plenty of wear left. The children have been everywhere in them.

Captain: Do you mean to tell me that my children have been roaming about Salzburg dressed up in nothing but some old drapes?

Maria: Mmm-hmmm. And having a marvelous time!

——-

[singing starts somewhere inside]

Captain: What’s that?

Maria: It’s singing.

Captain: Yes, I realize it’s singing, but who?

Maria: The children.

Captain: The children?

Maria: I taught them something to sing for the Baroness.

the sound of music after kids have changed after falling to water out of boat

When the Captain enters the house, he finds them in the sitting room standing opposite the seated Baroness and Max. They are singing a rendition of the song “The Sound of Music.” He eventually joins in. When all is finished, the littlest through Maria’s directions from the doorway, to give a handful of flower to the Baroness. Meanwhile the Captain is hugging all his children. He spies Maria at the door way and excuses himself.

the sound_of_music after captain apologizes to maria & asks her to stay

Captain: [after apologizing] I want you to stay. I ask you to stay.

It’s a tear in the eye, lump in your throat type moment.

the sound of music doing the lonely goatherd show

After the show, the children ask their father to sing. He declines but all are insistent, especially, Max. He is a talent agent of sorts.

Max: Just say the word Georg, we will make you the Von Trapp Family Singers, with you are the head.

They are all finally able to convince Georg to sing. Maria presents him with the guitar.

Edelweiss is the song of choice. It is so beautifully done. It is when Georg and Maria really gaze into each others eyes. It is one of those intense moments for me where my heart pounds and my breathing stops.

Edelweiss – Christopher Plummer & Julie Andrews

the sound of music edelweiss captain singing for all maria & captain show signs of falling


The Sound of Music — Whistles & Meeting the Children


Christopher Plummer — Edelweiss [Variety of Scenes from film — The Sound of Music]

the sound of music liesel on couch next to father singing edelweiss

Liesl eventually joins in singing with her father.

the sound-of-music edelweiss captain w liesel kids kneeling

Sound-of-Music-maria closeup during singing of edelweiss melts me inside

the sound of music captain & maria doing the laedler full photo

Time for a party. Everyone who is anyone, even those who Georg would never invite were invited. The children convince Maria to teach them to dance. The Captain joins them by interrupting Kurt and takes Maria’s hand and they dance to the Laendler. It is an Austria folk dance. The Captain and Maria do it so well. Another romantic moment in the movie.

the sound of music captain maria 3 photos in one dancing

som maria captaindancing crop thought 2

som maria captain dancing passionate

som dancing maria captain gif

the sound of music christopher-julie-dancing laedler

the sound of music christopher-julie-dancing laedler

The-sound-of-music captain baroness maria children after captain & maria danced

the sound of music brigitta & cartwright

the Sound-of-music-goodbye so long farewell singing goodnight

After the children say goodnight in a song, Max gets Georg to invite Maria to join them all for dinner. He tells her they will wait until she changes. The Baroness shows up in her room. This is when she frightens the hell out of Maria by telling her that she is in love with the Captain and he thinks he is in love with Maria.

Maria starts to pack. Baroness leaves.

Moments later we see Maria placing a note over the mantle and making a quiet exit out the front door.

the SoundOfMusic after maria left bc of what baroness said to her about captain love

the sound of music kids trying to see maria at the abby

the sound-of-music-maria-nun-julie-andrews entering mother superior's ofc b4 going back

The-sound-of-music maria in rev mother ofc to talk about going back

Later in the story, Maria returns to the Abbey to seek the Reverend Mother’s advice:

Maria: Reverend mother.

Reverend Mother: Why did they send you back to us?

Maria: They didn’t send me back . . . I left.

Reverend Mother: Tell me what happened.

Maria: Well, I . . . I was frightened.

Reverend Mother: Frightened? Were they unkind to you?

Maria: Oh, no, I, I was . . . I was confused. I felt . . . I’ve never felt that way before. I couldn’t stay, I knew here I’d be away from it. I’d be . . . safe.

Reverend Mother: (Instructively) Maria. Our Abbey is not to be used as an escape. What is it you can’t face?

Maria: I can’t face him again.

Reverend Mother: Him? Captain Von Trapp?

Maria nods affirmatively.

Reverend Mother: Are you in love with him?

Maria: I don’t know! I don’t know! The Baroness said I was. She said that he was in love with me, but I . . . I didn’t want to believe it. Oh, there were times when we would look at each other. Oh mother, I could hardly breathe.

Reverend Mother: Did you let him see how you felt?

Maria: If I did, I didn’t know it. That’s what’s been torturing me. I was there on God’s errand. To have asked for his love would have been wrong. Oh, I couldn’t stay, I just couldn’t . . . I’m ready at this moment to take my vows. Please help me.

Reverend Mother: Maria, the love of a man and a woman is holy too. You have a great capacity to love. What you must find out is how God wants you to spend your love.

Maria: But I pledged my life to God. I pledged my life to His service.

Reverend Mother: My daughter, if you love this man, it doesn’t mean you love God less. No. You must find out. You must go back.

Maria: Oh mother, you can’t ask me to do that. Please let me stay. I beg of you-

Reverend Mother: Maria, these walls were not built to shut out problems. You have to face them. You have to live the life you were born to live.

the-sound-of-music-maria kneeling w rev mother holding hand discussing love


Climb Every Mountain — Maria with Mother Superior


My Favorite Things — The Children Singing & Maria Returns

the SoundOfMusic coming back from abby meets children outsid

the sound-of-music-1965 maria & kids look up at captain & baroness maria says not back to stay

The children grab Maria’s things. There father sends the children in to dinner. After they leave Maria speaks to the Captain and the Baroness.

Maria: The children tell me you are to be married.

Captain confirms it. He asks her if she plans to stay now that she is back.

Maria: The reason I returned no longer exists. So, only until you can find another governess.

Maria walks past them to go inside.

the-sound-of-music-blue-dress maria walking around outside captain watching baroness finds him

Georg is on the back balcony overlooking the water when he sees Maria in her blue dress walking down by the water and then begins to walk off toward the gazebo. Before she is out of sight, the Baroness joins Georg. She is not blind. Georg is about to tell her something, which she takes the lead on. She tells him she needs to leave.

Baroness: Somewhere out there is a lady who I think will never be a nun. Auf Wiedersehen, darling.

She takes her leave.

The Sound of Music maria and captain light in gazebo

Captain: Maria, there isn’t going to be any Baroness anymore.

Maria: I don’t understand.

Captain: Well, we called off our engagement, you see, and…

Maria: Oh, I’m sorry.

Captain: Yes. You are?

Maria: Mm-hmm. You did?

Captain: Yes. Well, you can’t marry someone when you’re in love with someone else… can you?

the sound of music b&w captain holding maria in gazebo

Georg and Maria talk. She begins to tell him what the Reverend Mother always says. Maria sings the song “Something Good,” while Georg is holding her. When she is finished they kiss and hug.

the sound of music gazebo doorway maria's arms draping over captain's shoulders ask the children

the sound of music gazebo something good

The sound of music captain-and-maria-sound-of-music

The_Sound_of_Music gazebo singing i must have done something good

som maria captain looking  into eyes b4 kiss enlarge thought 1

the-sound-of-music-600x411 shadows darker

Captain: Maria, is there anyone I should ask for your hand in marriage.

Barely getting the words out.

Maria and the Captain: We should ask the children.


The Sound of Music Trailer — New Version

The-Sound-of-Music-1965 maria in wedding dress kneeling w nuns rev mother

The-Sound-of-Music-gif-julie-andrews-coming back from honeymoon

Max fills the Captain and Maria of the telegram and with the children about the Salzburg Folk Festival. The children are entered as the Von Trapp Family Singers. Georg gets angry with Max but doesn’t want to spoil their return. After reading the telegram, he tells Maria to get the children ready. They must all leave Austria. The Nazis want Georg to head up Captaining a ship in the Navy of the Third Reich. That is unthinkable to Georg.

the sound of music captain holding maria after got back from honeymoon & read nazi telegram

Marta: Why doesn’t father turn the motor on?

Kurt: [agitated] Because he doesn’t want anybody to hear us!

Captain: Shh!

Louisa: What will Frau Schmidt and Franz said when they discover we’re gone?

Captain: They’ll be able to answer truthfully they didn’t know anything about it if anyone asks them.

Louisa: Will we be coming back here?

Captain: Someday, Liesl. I do hope someday.

Gretl: Are Father and Uncle Max going to push the car all the way to Switzerland?

Maria: Shh!

As they push the car as silently as possible through the front gate, after closing the gate and before they can get in the car, the Nazis headed by Heir Geller turn their car lights to shine on the Von Trapp Family in their traveling cloths.

Herr Geller, the Captain, Max and Maria get into a debate. The Von Trapp’s come up with the idea that they are on the way to the folk festival. Maria tells him that the night air is not good for the children’s voices. Herr Geller is magnanimous and offers to follow them to the festival and from their they will take Captain von Trapp to accept his commission in the Navy of the Third Reich.

the_sound_of_music_film_edelweiss_in_concert captain getting audience to join in at festival

Before Georg starts to sing “Edelweiss” he tells the audience that the Third Reich are waiting for him to finish so they can take him to his command for the Navy of the Third Reich. There is a buzz amongst the audience, sounds of being very disturbed by this news.

While Georg is singing, he breaks down. Maria comes to his side and begins to sing. Eventually, she motions for the children to join them, then the whole audience is motioned by Georg to join in. Chills go up your spine during this song.

thesoundofmusic at festival all singing linking arms

Max is the MC of the show. He tells the audience before the awards are given out the Von Trapp’s are going to do an encore while the judges make their decisions.

the sound-of-music Salzberg folk fest last song escaping

The von Trapp’s, when it is announced they have won. They are called to the stage several times, until a Nazi soldier comes running in.

Nazi soldier: There gone. The von Trapp’s are gone.

All the Nazis scramble to get out of the Festival and to begin the search for the Von Trapp’s. It takes them to the Abby. They search but cannot find them. Rolfe is amongst the Nazis who are searching.

He eventually finds them and hesitates briefly to call them out. But being the misguided *bleep* he is, of course, he can’t be challenged by the Captain who embarrassed him earlier in the film and was trying to do so again.

From here, some funny things occur. The Captain had been given the keys for the Abby’s caretaker’s car. They drive off. You would think the Nazis would be in hot pursuit.

This is where I will end the tale. Pictures say a thousand words. So this is equivalent to a short novella based on a True Story with some exaggerations to make it playable in Broadway Musical form originally, and then an adaptation to the screen from the Richard Rodgers and Oscar Hammerstein collaboration. I feel it was their best ever.

Watch the Trailer for the Film, followed by some closing shots. After that the cast. And way on the bottom a spoof on actual footage from the film but made to look and sound like a Horror film. It really isn’t scary but instead rather amusing.

So, I hope you enjoyed and made it through this journey with me. And if you haven’t seen “The Sound of Music” or want to see it again, I highly recommend both of these. I’m going to do it myself for the “unknown” amount of times.

Thank you, Jennifer Kiley


The Sound of Music Trailer

the sound of music going over the mtns

the sound of music going up into the mtns

CAST:

Julie Andrews ……….. Maria
Christopher Plummer ….. Captain Von Trapp
Eleanor Parker ………. The Baroness
Richard Haydn ……….. Max Detweiler
Peggy Wood ………….. Mother Abbess

CHILDREN:
Charmian Carr ……….. Liesl
Heather Menzies-Urich … Louisa (as Heather Menzies)
Nicholas Hammond …….. Friedrich
Duane Chase …………. Kurt
Angela Cartwright ……. Brigitta
Debbie Turner ……….. Marta
Kym Karath ………….. Gretl

REMAINING CAST:
Anna Lee ……………. Sister Margaretta
Portia Nelson ……….. Sister Berthe
Ben Wright ………….. Herr Zeller
Daniel Truhitte ……… Rolfe
Norma Varden ………… Frau Schmidt
Gilchrist Stuart …….. Franz (as Gil Stuart)
Marni Nixon …………. Sister Sophia

Fav Top Ten Film #1: The Sound of Music

the-sound-of-music-poster

Fav Top Ten Film #1: The Sound of Music
Post Created by Jk the secret keeper
Review Written by Jennifer Kiley
Post Created Sunday 6th October 2013
Posted On Friday 11th October 2013
FILM FRIDAY

dedicated to roger ebert film friday

5 stars

“The Sound of Music” is my favorite movie of all time. It has major sentimental meaning to me. Rather then my reviewing it. I would like to share the images and video tapes from the film. The photos are in order as they appear in the film. I believe in my extensive search, I found almost all the shots I could find, which fit almost every scene in the movie with a few exceptions. Don’t want to give it all away for those who haven’t seen it.

I do recommend if you are planning on renting or streaming “The Sound of Music” you may want to reconsider viewing this post until later but then, the images are so delightful, you may not want to put it off. I do realize a great many people have seen this film and are just as invested in it as I am. It is great for everyone. I am an avid Julie Andrews fan and will never get enough of her film roles and her singing. I find when she is singing for a role her voice lent a certain depth to it.

I plan on using some assorted dialogue and descriptions of what is occurring. I worked on putting this together in reverse. With all the shots and videos collected, I placed the last photos first and fit in the videos where I felt they best fit. As I said, this is my favorite film of all time so I do know it frontwards and backwards. And I am testing myself by writing this review from the memory of all the times I viewed it. Let’s see how accurate I can get. After I am finished, I will then watch the film and see how I did.

That means I am pulling out all the dialogue from inside my head and testing my memory from the plus 100 times I have seen this film. You would think I would be bored from seeing something that many times. Absolutely not. This film was the savior of my childhood. It was one of my escapes. I went to everything theatre I could find where it was showing. When I was a kid films stayed forever in one place. It grossed more money in its day in ticket sales and if compared to todays prices I believe it is second or third place in sales for all times. Keep in mind, there weren’t as many people born back in 1964. It just kept drawing people into the theatres. I saw it in my home state and I saw it in New York City.

Once it hit television, I watched it every year, until the VCR and Video Tapes. It probably was the first film I purchased on Video and on DVD. I have purchased different versions of it as the technology has improved. Next is to, hopefully, receive a present of it in Blu-Ray over the Holidays or as an unholiday, unbirthday present. We’ll see. Hint! Hint! Hint!

So lets begin the tale as the opening of the film is the cameras sweeping over the mountains of Austria, into the valleys, hearing birds and wind, until we come on the scene where Maria, our heroine, is dancing and singing on the hilltops, twirling about so carelessly. She is a postulate at the Abby near by and not terribly successful at it.

the_sound_of_music_1st sight of maria on mtn

In this scene, Julie keeps getting flattened by the helicopters, so Robert Wise, the director, has to do take after take. Julie loves sharing this story in many of her interviews.

The Sound of Music

Review by Jennifer Kiley

the sound of music problem like maria nuns rev only

the sound of music rev mother & sister nun played by anna lee

“How Do You Solve a Problem Like Maria?” A great song. It describes Maria to a perfect degree as you will see in the animated image of her arrival back to the Abby after singing in the hills.

The-Sound-of-Music-gif-julie-andrews-in abbey after getting back from mtn top

Maria & Reverend Mother visit privately in the Reverend Mother’s private office.

Maria: Which brings me to another transgression Reverend Mother. I was singing out there today without permission.

Reverend Mother: Maria, it is only here in the Abbey that we have rules about postulate singing.

Maria: I can’t seem to stop singing wherever I am. And what’s worse, I can’t keep to stop saying things . . . everything and anything I think and feel.

Reverend Mother: Some people would call that honesty.

Maria: Oh, but it’s terrible Reverend Mother. You know how Sister Berthe always makes me kiss the floor after we’ve had a disagreement? Well, lately I’ve taken to kissing the floor when I see her coming . . . just to save time.

Outside the Abby, Maria looks around as she leaves.

Maria: Where God closes a door, somewhere else he opens a window.

the sound of music on way to von trapp home

On the way to the von Trapp home, Maria sings the song “I Have Confidence,” the build up her courage. After all, she is about to face a daunting fate. A governess for seven children and ones who don’t like governesses.

the sound-of-music maria leaning on stone wall i have confidence

the_sound_of_music_at closed gate i have confidence

the sound of music maria i have confidence ready to charge mansion

the soundofmusic 1st meeting 4 all

thesoundofmusic kids lined up 4 whistle lessons for maria

After the Captain uses his whistle to show Maria what their individual whistle call sounds like, he proceeds to show Maria her whistle sound.

Captain: Now, when I want you, this is what you will hear.

[blows whistle]

Maria: Oh, no, sir. I’m sorry, sir. I could never answer to a whistle. Whistles are for dogs and cats and other animals, but not for children and definitely not for me. It would be too… humiliating.

Captain von Trapp: Fraulein, were you this much trouble at the Abbey?

Maria: Oh, much more, sir.

Captain von Trapp: Hmm.

[starts walking away. Maria blows her whistle & he turns around]

Maria: Excuse me, sir. I don’t know your signal

Maria: Whistles are for dogs and cats but not for children and especially not for me.

the_sound_of_music_maria meeting the children after captain leaves

Maria asks the children to once again tell her their names and something about themselves. Louisa tries to trick her but she is way to smart. She re-identifies Brigitta and Louisa.

Brigitta: You’re smart. My names Brigitta and I think that is the ugliest dress I’ve ever seen.

The children debate the question but mischief is afoot. Maria makes a huge mistake.

Maria: I’ve never been a governess before. You’ll have to teach me.

The children proceed to tell her all the wrong things to do. She is just a governess and they don’t want one. SO they treat Maria equally as bad as the other governesses.

the sound of music finding the frog in pocket on stairs

Maria: Poor children.

In less than a moment she is throwing into the air as gently as possible a frog she found in her pocket.

Frau Schmidt: With the last governess it was [snakes or spiders].

the sound of music at dinner 2st night maria thanking kids 4 there lovely welcome earlier

After Fraulein Maria sits down in her second attempt, she speaks.

Maria: I’d like to thank you all for the precious gift you left in my pocket today.

Captain: What gift?

Maria: It’s meant to be a secret between the children and me.

Captain: Then I suggest you keep it, and let us eat.

Maria: Knowing how nervous I must have been, a stranger in a new household, knowing how important it was for me to feel accepted, it was so kind and thoughtful of you to make my first moments here so warm and happy and pleasant.

A bit of weeping breaks out amongst the children.

som dinnerscene captain

Captain von Trapp: Fraulein, is it to be at every meal, or merely at dinnertime, that you intend on leading us all through this rare and wonderful new world of… indigestion?

Maria: Oh, there just happy Captain. [The children break out into a full out cry, feeling badly about the tricks they have played on her.] When she was just trying to get them to like her.

the sound of music rolf & liesl in gazebo

A secret rendezvous in the gazebo between Liesl and Rolf. He delivers telegrams at certain times in hopes of seeing her.

the sound of music maria in bed w two youngest waiting 4 older kids

A thunderstorm has struck and the sound of thunder is scary for all the kids. Maria sings a song about “My Favorite Things” to try and comfort them.

the sound of music maria thinking of her fav things w kids on bed leaning in

the sound-of-music-my fav things on bed thunderstorm

Captain enters Maria’s bedroom to find out what is making all the racket.

som maria bedroom captain thunderstorm

Captain: Fraulein Maria, did I or did I not say that bedtime is to be strictly observed in this household?

Maria: Yes, well the children were scared of the thunderstorm and… You did, sir.

Captain: And do you or do you not have trouble following these simple instructions?

Maria: Only during thunderstorms, sir.

The Captain reminds her he is leaving in the morning to visit the Baroness. Maria asks him for some material to make play clothes for the children. His answer was a no, they have their uniforms. But we all can sense how resourceful Maria will be.

The Sound of Music  Julie Andrews on mtn eating b4 do re mi

the sound of music maria w friedrich & guitar standing preparing to teach them singing

the SoundofMusic maria w children on mtn teaching them how to sing

the_sound_of_music_film_do_re_mi riding bikes

Maria, while they are on outing, begins to teach the children how to sing. Another one of the many things that have been neglected to bring joy into their lives.

the SoundOfMusic maria hitting high note at end of do re mi

the sound of music kids in trees cant see captain baroness max driving to mansion

the sound of music kurt heil to captain after getting nervous wanting to see liesel

Rolfe gets nervous when he is caught throwing stones at Liesl’s window. The Captain reprimands him after he raises his arm in a Nazi salute of Heil. The Captain grabs the telegram. All is hell is about to be breaking loose in Austria. The Captain’s home. He yells at Max for his careless comment about not caring. His mind starts to drift off into the prospect of his Austria disappearing. Suddenly the sound of laughter and singing coming from the water just across the lawn from where they are on the patio.

the sound of music all getting out of the water to meet the baroness

the sound of music kids dripping wet after maria & all tip boat over

kinopoisk.ru

Maria: Children can’t do all the things they’re supposed to if they have to worry about spoiling their precious clothes.

Captain: They haven’t complained yet.

Maria: Well, they wouldn’t dare! They love you too much. They *fear* you too much!

Captain: I don’t wish you to discuss my children in this manner.

Maria: Well, you’ve got to hear from someone! You’re never home long enough to know them.

Captain: I said I don’t want to hear anymore from you about my children!

Maria: I know you don’t, but you’ve got to! Now, take Liesl.

Captain: [hesitatingly] You will not say one word about Liesl, Fraulein.

Maria: She’s not a child anymore, and one of these days, you’re going to wake up and find that she’s a woman. You won’t even know her. And Friedrich, he’s a boy, but he wants to be a man and there’s no one to show him how.

Captain: Don’t you dare tell me about my son.

Maria: Brigitta could tell you about him if you let her get close to you. She notices everything.

Captain: Fraulein…

Maria: And Kurt pretends he’s tough not to show how hurt he is when you brush him aside,

Captain: That will do!

Maria: the way you do all of them. Louisa I don’t even know about yet,

Captain: I said that will do!

Maria: but somebody has to find out about her, and the little ones just want to be loved. Oh, please, Captain, love them! Love them all!

Captain: I don’t care to hear anything further from you about my children.

Maria: I am not finished yet!

Captain: Oh, yes, you are, Captain!

[pauses]

Captain: Fraulein.

——-

Captain: Now, Fraulein. I want a truthful answer from you.

Maria: Yes, Captain?

Captain: Is it possible – or could I have just imagined it – have my children by any chance been climbing trees today?

Maria: Yes, Captain.

Captain: I see. And where, may I ask, did they get these… ummm…

Maria: Play clothes.

Captain: Oh, is that what you call them?

Maria: I made them. From the drapes that used to hang in my bedroom.

Captain: Drapes?

Maria: They still have plenty of wear left. The children have been everywhere in them.

Captain: Do you mean to tell me that my children have been roaming about Salzburg dressed up in nothing but some old drapes?

Maria: Mmm-hmmm. And having a marvelous time!

——-

[singing starts somewhere inside]

Captain: What’s that?

Maria: It’s singing.

Captain: Yes, I realize it’s singing, but who?

Maria: The children.

Captain: The children?

Maria: I taught them something to sing for the Baroness.

the sound of music after kids have changed after falling to water out of boat

When the Captain enters the house, he finds them in the sitting room standing opposite the seated Baroness and Max. They are singing a rendition of the song “The Sound of Music.” He eventually joins in. When all is finished, the littlest through Maria’s directions from the doorway, to give a handful of flower to the Baroness. Meanwhile the Captain is hugging all his children. He spies Maria at the door way and excuses himself.

the sound_of_music after captain apologizes to maria & asks her to stay

Captain: [after apologizing] I want you to stay. I ask you to stay.

It’s a tear in the eye, lump in your throat type moment.

the sound of music doing the lonely goatherd show

After the show, the children ask their father to sing. He declines but all are insistent, especially, Max. He is a talent agent of sorts.

Max: Just say the word Georg, we will make you the Von Trapp Family Singers, with you are the head.

They are all finally able to convince Georg to sing. Maria presents him with the guitar.

Edelweiss is the song of choice. It is so beautifully done. It is when Georg and Maria really gaze into each others eyes. It is one of those intense moments for me where my heart pounds and my breathing stops.

the sound of music edelweiss captain singing for all maria & captain show signs of falling


The Sound of Music — Whistles & Meeting the Children


Christopher Plummer — Edelweiss [Variety of Scenes from film — The Sound of Music]

the sound of music liesel on couch next to father singing edelweiss

Liesl eventually joins in singing with her father.

the sound-of-music edelweiss captain w liesel kids kneeling

Sound-of-Music-maria closeup during singing of edelweiss melts me inside

the sound of music captain & maria doing the laedler full photo

Time for a party. Everyone who is anyone, even those who Georg would never invite were invited. The children convince Maria to teach them to dance. The Captain joins them by interrupting Kurt and takes Maria’s hand and they dance to the Laendler. It is an Austria folk dance. The Captain and Maria do it so well. Another romantic moment in the movie.

the sound of music captain maria 3 photos in one dancing

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som maria captain dancing passionate

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the sound of music christopher-julie-dancing laedler

the sound of music christopher-julie-dancing laedler

The-sound-of-music captain baroness maria children after captain & maria danced

the sound of music brigitta & cartwright

the Sound-of-music-goodbye so long farewell singing goodnight

After the children say goodnight in a song, Max gets Georg to invite Maria to join them all for dinner. He tells her they will wait until she changes. The Baroness shows up in her room. This is when she frightens the hell out of Maria by telling her that she is in love with the Captain and he thinks he is in love with Maria.

Maria starts to pack. Baroness leaves.

Moments later we see Maria placing a note over the mantle and making a quiet exit out the front door.

the SoundOfMusic after maria left bc of what baroness said to her about captain love

the sound of music kids trying to see maria at the abby

the sound-of-music-maria-nun-julie-andrews entering mother superior's ofc b4 going back

The-sound-of-music maria in rev mother ofc to talk about going back

Later in the story, Maria returns to the Abbey to seek the Reverend Mother’s advice:

Maria: Reverend mother.

Reverend Mother: Why did they send you back to us?

Maria: They didn’t send me back . . . I left.

Reverend Mother: Tell me what happened.

Maria: Well, I . . . I was frightened.

Reverend Mother: Frightened? Were they unkind to you?

Maria: Oh, no, I, I was . . . I was confused. I felt . . . I’ve never felt that way before. I couldn’t stay, I knew here I’d be away from it. I’d be . . . safe.

Reverend Mother: (Instructively) Maria. Our Abbey is not to be used as an escape. What is it you can’t face?

Maria: I can’t face him again.

Reverend Mother: Him? Captain Von Trapp?

Maria nods affirmatively.

Reverend Mother: Are you in love with him?

Maria: I don’t know! I don’t know! The Baroness said I was. She said that he was in love with me, but I . . . I didn’t want to believe it. Oh, there were times when we would look at each other. Oh mother, I could hardly breathe.

Reverend Mother: Did you let him see how you felt?

Maria: If I did, I didn’t know it. That’s what’s been torturing me. I was there on God’s errand. To have asked for his love would have been wrong. Oh, I couldn’t stay, I just couldn’t . . . I’m ready at this moment to take my vows. Please help me.

Reverend Mother: Maria, the love of a man and a woman is holy too. You have a great capacity to love. What you must find out is how God wants you to spend your love.

Maria: But I pledged my life to God. I pledged my life to His service.

Reverend Mother: My daughter, if you love this man, it doesn’t mean you love God less. No. You must find out. You must go back.

Maria: Oh mother, you can’t ask me to do that. Please let me stay. I beg of you-

Reverend Mother: Maria, these walls were not built to shut out problems. You have to face them. You have to live the life you were born to live.

the-sound-of-music-maria kneeling w rev mother holding hand discussing love


Climb Every Mountain — Maria with Mother Superior


My Favorite Things — The Children Singing & Maria Returns

the SoundOfMusic coming back from abby meets children outsid

the sound-of-music-1965 maria & kids look up at captain & baroness maria says not back to stay

The children grab Maria’s things. There father sends the children in to dinner. After they leave Maria speaks to the Captain and the Baroness.

Maria: The children tell me you are to be married.

Captain confirms it. He asks her if she plans to stay now that she is back.

Maria: The reason I returned no longer exists. So, only until you can find another governess.

Maria walks past them to go inside.

the-sound-of-music-blue-dress maria walking around outside captain watching baroness finds him

Georg is on the back balcony overlooking the water when he sees Maria in her blue dress walking down by the water and then begins to walk off toward the gazebo. Before she is out of sight, the Baroness joins Georg. She is not blind. Georg is about to tell her something, which she takes the lead on. She tells him she needs to leave.

Baroness: Somewhere out there is a lady who I think will never be a nun. Auf Wiedersehen, darling.

She takes her leave.

The Sound of Music maria and captain light in gazebo

Captain: Maria, there isn’t going to be any Baroness anymore.

Maria: I don’t understand.

Captain: Well, we called off our engagement, you see, and…

Maria: Oh, I’m sorry.

Captain: Yes. You are?

Maria: Mm-hmm. You did?

Captain: Yes. Well, you can’t marry someone when you’re in love with someone else… can you?

the sound of music b&w captain holding maria in gazebo

Georg and Maria talk. She begins to tell him what the Reverend Mother always says. Maria sings the song “Something Good,” while Georg is holding her. When she is finished they kiss and hug.

the sound of music gazebo doorway maria's arms draping over captain's shoulders ask the children

the sound of music gazebo something good

The sound of music captain-and-maria-sound-of-music

The_Sound_of_Music gazebo singing i must have done something good

som maria captain looking  into eyes b4 kiss enlarge thought 1

the-sound-of-music-600x411 shadows darker

Captain: Maria, is there anyone I should ask for your hand in marriage.

Barely getting the words out.

Maria and the Captain: We should ask the children.


The Sound of Music Trailer — New Version

The-Sound-of-Music-1965 maria in wedding dress kneeling w nuns rev mother

The-Sound-of-Music-gif-julie-andrews-coming back from honeymoon

Max fills the Captain and Maria of the telegram and with the children about the Salzburg Folk Festival. The children are entered as the Von Trapp Family Singers. Georg gets angry with Max but doesn’t want to spoil their return. After reading the telegram, he tells Maria to get the children ready. They must all leave Austria. The Nazis want Georg to head up Captaining a ship in the Navy of the Third Reich. That is unthinkable to Georg.

the sound of music captain holding maria after got back from honeymoon & read nazi telegram

Marta: Why doesn’t father turn the motor on?

Kurt: [agitated] Because he doesn’t want anybody to hear us!

Captain: Shh!

Louisa: What will Frau Schmidt and Franz said when they discover we’re gone?

Captain: They’ll be able to answer truthfully they didn’t know anything about it if anyone asks them.

Louisa: Will we be coming back here?

Captain: Someday, Liesl. I do hope someday.

Gretl: Are Father and Uncle Max going to push the car all the way to Switzerland?

Maria: Shh!

As they push the car as silently as possible through the front gate, after closing the gate and before they can get in the car, the Nazis headed by Heir Geller turn their car lights to shine on the Von Trapp Family in their traveling cloths.

Herr Geller, the Captain, Max and Maria get into a debate. The Von Trapp’s come up with the idea that they are on the way to the folk festival. Maria tells him that the night air is not good for the children’s voices. Herr Geller is magnanimous and offers to follow them to the festival and from their they will take Captain von Trapp to accept his commission in the Navy of the Third Reich.

the_sound_of_music_film_edelweiss_in_concert captain getting audience to join in at festival

Before Georg starts to sing “Edelweiss” he tells the audience that the Third Reich are waiting for him to finish so they can take him to his command for the Navy of the Third Reich. There is a buzz amongst the audience, sounds of being very disturbed by this news.

While Georg is singing, he breaks down. Maria comes to his side and begins to sing. Eventually, she motions for the children to join them, then the whole audience is motioned by Georg to join in. Chills go up your spine during this song.

thesoundofmusic at festival all singing linking arms

Max is the MC of the show. He tells the audience before the awards are given out the Von Trapp’s are going to do an encore while the judges make their decisions.

the sound-of-music Salzberg folk fest last song escaping

The von Trapp’s, when it is announced they have won. They are called to the stage several times, until a Nazi soldier comes running in.

Nazi soldier: There gone. The von Trapp’s are gone.

All the Nazis scramble to get out of the Festival and to begin the search for the Von Trapp’s. It takes them to the Abby. They search but cannot find them. Rolfe is amongst the Nazis who are searching.

He eventually finds them and hesitates briefly to call them out. But being the misguided *bleep* he is, of course, he can’t be challenged by the Captain who embarrassed him earlier in the film and was trying to do so again.

From here, some funny things occur. The Captain had been given the keys for the Abby’s caretaker’s car. They drive off. You would think the Nazis would be in hot pursuit.

This is where I will end the tale. Pictures say a thousand words. So this is equivalent to a short novella based on a True Story with some exaggerations to make it playable in Broadway Musical form originally, and then an adaptation to the screen from the Richard Rodgers and Oscar Hammerstein collaboration. I feel it was their best ever.

Watch the Trailer for the Film, followed by some closing shots. After that the cast. And way on the bottom a spoof on actual footage from the film but made to look and sound like a Horror film. It really isn’t scary but instead rather amusing.

So, I hope you enjoyed and made it through this journey with me. And if you haven’t seen “The Sound of Music” or want to see it again, I highly recommend both of these. I’m going to do it myself for the “unknown” amount of times.

Thank you, Jennifer Kiley


The Sound of Music Trailer

the sound of music going over the mtns

the sound of music going up into the mtns

CAST:

Julie Andrews ……….. Maria
Christopher Plummer ….. Captain Von Trapp
Eleanor Parker ………. The Baroness
Richard Haydn ……….. Max Detweiler
Peggy Wood ………….. Mother Abbess

CHILDREN:
Charmian Carr ……….. Liesl
Heather Menzies-Urich … Louisa (as Heather Menzies)
Nicholas Hammond …….. Friedrich
Duane Chase …………. Kurt
Angela Cartwright ……. Brigitta
Debbie Turner ……….. Marta
Kym Karath ………….. Gretl

REMAINING CAST:
Anna Lee ……………. Sister Margaretta
Portia Nelson ……….. Sister Berthe
Ben Wright ………….. Herr Zeller
Daniel Truhitte ……… Rolfe
Norma Varden ………… Frau Schmidt
Gilchrist Stuart …….. Franz (as Gil Stuart)
Marni Nixon …………. Sister Sophia

THE VIDEO BELOW IS MEANT TO BE A JOKE ALL IN FUN — DO NOT BE AFRAID TO WATCH IT!!!

The Sound of Music [HORROR TRAILER]

Favorite Top Ten Films of All Time [#8 & #7]

Favorite Top Ten Films of All Time [#8 & #7]
List Created by Jennifer Kiley
Illustrated by j. kiley
Movie Trailers by Jk the secret keeper
Post Created on 21st August 2013
Posted On Friday 23rd August 2013

FILM FRIDAY
dedicated to roger ebert film friday5 stars

Favorite Top Ten Films of All Time [#10 & #9]
List Created by Jennifer Kiley

Most everyone knows the Shakespearean story of Romeo & Juliet. The contention between their families, the Montague’s and the Capulet’s. The opening lines of the play are:

Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross’d lovers take their life;
Whole misadventured piteous overthrows
Do with their death bury their parents’ strife.
Romeo and Juliet (1.1)

Well, remember this play as you watch the film West Side Story and you observe the disenfranchised youth of the Jets and the misplaced youth of the Sharks whose families have come from Puerto Rico to find a life in America. Instead find themselves unwelcome as we see today how anyone who is different and from the wrong country is unwelcome today. How quickly all of our ancestry forget we are and were all aliens at one time. This is how it is played out in West Side Story. You find gangs formed so young people feel they belong to something.

In Romeo and Juliet, you have large families formed through birth and through marriage. Loyalty is to the family and its extensions. Romeo unknowingly falls in love with the daughter of his families enemy and Juliet, likewise, does the same by falling in love with Romeo, the son of his families enemy. They were doomed from the start as are Tony, a former member of the Jets, and Maria, sister to the leader of the gang the Sharks. Enemies guarding territory, the Jets and the Sharks. Neither Maria or Tony could care about this territory or that they are different in race or side of a battlefield.

I will let Roger Ebert guide you through his thoughts on West Side Story. It was the first film I saw in a movie theatre on my own as a young girl. I saw the film win the Oscar for Best Picture and a number of other awards. Somewhere, one of the many beautiful songs Leonard Bernstein and Stephen Sondheim created, has been my favorite song. It was my graduation song from eighth grade and it’s a perfect song for those people who feel different. To be it is the anthem of being Gay and Lesbian and Transgender or differences of any kind. “There’s a place for us, somewhere, someday.”

I will turn it over to Roger Ebert now. I like using his reviews. It keeps him alive for me. When I wanted to know about a film I would always go to his web page to read his reviews. It gave me a good sense of the film. I didn’t always agree with him but why should I. I think for myself. Roger Ebert wouldn’t have it any other way. So Here’s Roger… by Jennifer Kiley

#8th — West Side Story

west-side-story poster red the one 1

West Side Story
Roger Ebert
February 15, 2004

Although “West Side Story” was named the best picture of 1961 and won 10 Academy Awards, it is not much mentioned by movie fans these days, and the old warhorse “Singin’ in the Rain” is probably more seen and certainly better loved.

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west side story at dance tony and maria leaning in toward each other 1

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“West Side Story” was the kind of musical people thought was good for them, a pious expression of admirable but unrealistic liberal sentiments, and certainly its street gangs at war — one Puerto Rican, one the descendants of European immigrants — seem touchingly innocent compared to contemporary reality.

west side story balcony_wide maria tony 1

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I hadn’t seen it since it was released in 1961, nor had I much wanted to, although I’ve seen “Singin’ in the Rain,” “Swing Time,” “Top Hat,” “My Fair Lady” and “An American in Paris” countless times during those years. My muted enthusiasm is shared. Although “West Side Story” placed No. 41 in the American Film Institute’s list of the greatest films of all time, the less industry-oriented voters at the Internet Movie Database don’t even have it in the top 250.

West-Side-Story in dress shop tony and maria 1

Still, the new two-disc restored edition of the movie inspired me to look at it again, and I think there are great things in the movie, especially some of the songs of Leonard Bernstein and Stephen Sondheim, the powerful performances by Rita Moreno and George Chakiris, and above all Jerome Robbins’ choreography. It is a great movie … in parts. Mainstream critics loved it in 1961. Bosley Crowther in the New York Times thought its message “should be heard by thoughtful people — sympathetic people — all over the land.”

West-Side-Story maria holding tony's hand  he is not in photo 1

What is the message? Doc, the little Jewish candy store owner, expresses it to warring street gangs: “You kids make this world lousy! When will you stop?” It’s a strong moment, and Ned Glass’ Doc is one of the most authentic characters in the film, but really: Has a racist ever walked into a movie and been converted by a line of dialogue? Isn’t this movie preaching to the choir?

west side story tony and maria pretending to get married 1

The scenario by Arthur Laurents is famously inspired by Shakespeare’s “Romeo and Juliet,” although it shies away from the complete tragedy of the original by fudging the ending. It is not a cosmic misunderstanding but angry gunfire that kills Tony, and Maria doesn’t die at all; she snatches the gun and threatens to shoot herself, but drops it — perhaps because suicide would have been too heavy a load for the movie to carry. Then as now, there is a powerful bias in show business toward happy endings.

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Such lapses seemed crucial to the best critics reviewing the movie. Although Stanley Kauffmann named “West Side Story” “the best film musical ever made” when it came out in 1961, the rest of his review seemed to undermine that claim; he said it lacks a towering conclusion, is useless and facile as sociology, and the hint of a reconciliation between the two gangs at the end is “utter falseness.” Pauline Kael’s review scorched the earth: The movie was “frenzied hokum,” the dialogue was “painfully old-fashioned and mawkish,” the dancing was “simpering, sickly romantic ballet,” and the “machine-tooled” Natalie Wood was “so perfectly banal she destroys all thoughts of love.”

west side story natalie wood 1

Kael is guilty of overkill. Kauffmann is closer to the mark, especially when he disagrees with Kael about the dancing. Robbins, one of the most original choreographers in Broadway history, at first refused to work on the film unless he could direct it. Producer Walter Mirisch wanted a steady Hollywood hand, and chose Robert Wise, the editor of “Citizen Kane” and a studio veteran. Robbins agreed to direct the dancing, and Wise would direct the drama. And then the problem became that Robbins simply could not stop directing the dancing: “He didn’t know how to say ‘cut,'” one of the dancers remembers in a documentary about the making of the film. Robbins ran up so much overtime he was eventually fired, but his assistants stayed, and all the choreography is his.

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Certainly the dance scenes, so robust, athletic and exhilarating, play differently after you’ve seen the doc. Robbins rehearsed for three months before the shooting began, then revised everything on the locations, sometimes many times. His choreography was so demanding that no scene was ever filmed all the way through, and dancers in the “Cool” number say they never before and never again worked harder on anything. There were injuries, collapses, setbacks.

west side story somewhere maria and tony singing song 1

Look at a brief scene where a gang runs toward a very high chain-link fence, scales it bare-handed, and drops down inside a playground. That’s a job for one stuntman, not a dozen dancers, and we can only guess how many takes it took to make it look effortless and in sync with the music.

west side story maria in tony's arms looking up at him 1

As for the music itself: Usually, says Rita Moreno, dancers work in counts of fours, or sixes, or eights. “Then along comes Leonard Bernstein with his 5/4 time, his 6/8 time, his 25/6 time. It was just crazy. It’s very difficult to dance to that kind of music, because it doesn’t make dancer sense.” And yet Robbins’ perfectionism and Bernstein’s unconventional rhy-thms created a genuinely new kind of movie dancing, and it can be said that if street gangs did dance, they would dance something like the Jets and the Sharks in this movie, and not like a Broadway chorus line.

west-side-story tony and maria kissing on forward 1

The movie was made fresh on the heels of the enormous Broadway success of the musical, and filmed partly on location in New York (it opens on the present site of Lincoln Center), partly on sound stages. There was controversy over the casting of Natalie Wood as Maria (she was not Puerto Rican, her voice was dubbed by Marnie Nixon, she was only a fair dancer) and some indifference to Richard Beymer, whose Tony played more like a leading man than a gang leader. They didn’t get along in real life, we learn, but Wood does project warmth and passion in their scenes together, and a beauty and sweetness that would be with her all through her career.

west side story somewhere maria and tony singing song 1

What shows up Wood and Beymer is the work of Moreno and Chakiris, as the Puerto Rican lovers Anita and Bernardo. Little wonder they won supporting Oscars and the leads did not. Moreno can sing, can dance, and exudes a passion that brings special life to her scenes. For me, the most powerful moments in the movie come when Anita visits Doc’s candy store to bring a message of love from Maria to Tony — and is insulted, shoved around and almost raped by the Jets. That leads her, in anger, to abandon her romantic message and shout out that Maria is dead — setting the engine of Shakespeare’s last act into motion in a way that makes perfect dramatic sense. To study the way she plays in that scene is to understand what Wood’s performance is lacking.

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Kael is right about the dialogue. It’s mostly pedestrian and uninspired; it gets the job done and moves the plot along, but lacks not only the eloquence and poetry of Shakespeare, but even the power that a 20th century playwright like O’Neill or Williams would have brought to it. Compare the balcony scene in “West Side Story” with the one filmed six years later by Franco Zeffirelli in “Romeo and Juliet,” and you will find that it is possible to make a box-office hit while still using great language.

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What I loved during “West Side Story,” and why I recommend it, is the dancing itself. The opening finger-snapping sequence is one of the best uses of dance in movie history. It came about because Robbins, reading the screenplay, asked, “What are they dancing about?”

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The writer Laurents agreed: “You couldn’t have a story about murder, violence, prejudice, attempted rape, and do it in a traditional musical style.” So he outlined the prologue, without dialogue, allowing Robbins to establish the street gangs, show their pecking order, celebrate their swagger in the street, demonstrate their physical grace, and establish their hostility — all in a ballet scored by Bernstein with music, finger-snapping and anger.

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The prologue sets up the muscular physical impact of all of the dancing, and Robbins is gifted at moving his gangs as units while still making every dancer seem like an individual. Each gang member has his own style, his own motivation, and yet as the camera goes for high angles and very low ones, the whole seems to come together. I was reminded of the physical choreography in another 1961 movie, Kurosawa’s “Yojimbo,” in which a band of samurai move quickly and swiftly through action with a snakelike coordination.

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So the dancing is remarkable, and several of the songs have proven themselves by becoming standards, and there are moments of startling power and truth. “West Side Story” remains a landmark of musical history. But if the drama had been as edgy as the choreography, if the lead performances had matched Moreno’s fierce concentration, if the gangs had been more dangerous and less like bad-boy Archies and Jugheads, if the ending had delivered on the pathos and tragedy of the original, there’s no telling what might have resulted. The movie began with a brave vision, and it is best when you sense that vision surviving the process by which it was turned into safe entertainment.

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Somewhere — West Side Story — Video Created by Jennifer Kiley


AFI #2 AFI’s Greatest Movie Musicals – West Side Story (1961)

a divider for post no. 5 love fav new one thinner

#7th — Philadelphia Story

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Keep in mind as you read the review, it was written back the the 1940s when The Philadelphia Story was first released. It is a brilliantly funny, well written, well acted film. The cast is filled with three of the best actors of all time, Katherine Hepburn, Cary Grant and James Stewart. Whether the Lord family are wealthy does not play into the enjoyment you get from watching this film. It is the sheer delight of the interaction between the characters that hold your attention.

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It is watching the coming to life of Tracy Lord’s emotional connection with people which is fascinating to watch. Also, the knocking off his horse, a bore of a fiance Tracy is expected to marry by the end of the film. So enjoy a review from the time before TV, when movies were the thing to see for entertainment. Studios thought Katherine Hepburn was box office poison.

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One of my pet peeves with that era and now that if you stumble without complete success in everything you do, somehow you are automatically considered a failure. How does one learn what is enjoyable or until they try it out? If it doesn’t work then you try something different. Not everyone can be completely perfect all the time.

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Now onto the interview of The Philadelphia Story as seen through the eyes of someone there when it first hit the theatre and when a film stayed in the theatres for years, especially if it was a great film, as The Philadelphia Story is.

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Jimmy Stewart won an Oscar for his performance. Katherine Hepburn received so many nominations in her lifetime, one of them could have been for this film. No mention of it though. If she didn’t, let me say, she should have. by Jennifer Kiley

the-philadelphia-story-poster-artwork-katharine-hepburn-cary-grant-james-stewartThe Philadelphia Story (1940)
THE SCREEN; A Splendid Cast Adorns the Screen Version
of ‘The Philadelphia Story’ at the Music Hall
By BOSLEY CROWTHER
Published: December 27, 1940

TPS Shove at beginning of film

All those folks who wrote Santa Claus asking him to send them a sleek new custom-built comedy with fast lines and the very finest in Hollywood fittings got their wish just one day late with the opening of “The Philadelphia Story” yesterday at the Music Hall. For this present, which really comes via Metro-Goldwyn-Mayer, has just about everything that a blue-chip comedy should have—a witty, romantic script derived by Donald Ogden Stewart out of Philip Barry’s successful play; the flavor of high-society elegance, in which the patrons invariably luxuriate, and a splendid cast of performers headed by Katharine Hepburn, James Stewart and Cary Grant. If it doesn’t play out this year and well along into next they should turn the Music Hall into a shooting gallery.

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It has been a long time since Hollywood has spent itself so extravagantly, and to such entertaining effect, upon a straight upper-crust fable, an unblushing apologia for plutocracy. Money and talent are mostly going these days into elaborate outdoor epics and rugged individualist films.

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It is like old times to see one about the trials and tribulations of the rich, and to have Miss Hepburn back, after a two-year recess, as another spoiled and willful daughter of America’s unofficial peerage, comporting herself easily amid swimming pools, stables and the usual appurtenances of a huge estate.

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For that is what she is—and does—in the Messrs. Stewart’s and Barry’s pleasant dissertation upon a largely inconsequential subject, that subject being the redemption of a rather priggish and disagreeable miss. The writers have solemnly made her out as a frigid and demanding sort of person—one of “a special class of American females: the married maidens”—who has divorced her first husband and is preparing to take unto herself another simply because she doesn’t understand her own psyche.

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But an amusing complication, whereby an ink-smeared journalist and a girl photographer turn up to “cover” her wedding for a “snoop” magazine leads to a strange exposure of her basic hypocrisy, and she remarries the proper man to the proper effect.

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Truthfully, the psychology of the story is as specious as a spiel, and, for all the talk about the little lady being “a sort of high priestess to a virgin goddess,” etc., she is and remains at the end what most folks would call a plain snob. But the way Miss Hepburn plays her, with the wry things she is given to say, she is an altogether charming character to meet cinematically. Some one was rudely charging a few years ago that Miss Hepburn was “box-office poison.” If she is, a lot of people don’t read labels—including us.

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But she isn’t the only one who gives a brilliant performance in this film. James Stewart, as the acid word-slinger, matches her poke for gibe all the way and incidentally contributes one of the most cozy drunk scenes with Miss Hepburn we’ve ever seen. Cary Grant, too, is warmly congenial as the cast of but undefeated mate, and Ruth Hussey, Virginia Weidler, Roland Young and Mary Nash add much to the merriment.

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Provided you have a little patience for the lavishly rich, which these folk are, you should have great fun at “The Philadelphia Story.” For Metro and Director George Cukor have graciously made it apparent, in the words of a character, that one of “the prettiest sights in this pretty world is the privileged classes enjoying their privileges.” And so, in this instance, will you, too.

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THE PHILADELPHIA STORY; screen play by Donald Ogden Stewart; based on the play by Philip Barry; directed by George Cukor; produced by Joseph L. Mankiewicz for Metro-Goldwyn-Mayer. At the Radio City Music Hall.

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Cast of The Philadelphia Story

C. K. Dexter Haven . . . . . Cary Grant
Tracy Lord . . . . . Katharine Hepburn
Macaulay Connor . . . . . James Stewart
Elizabeth Imbrie . . . . . Ruth Hussey
George Kittredge . . . . . John Howard
Uncle Willie . . . . . Roland Young
Seth Lord . . . . . John Halliday
Margaret Lord . . . . . Mary Nash
Dinah Lord . . . . . Virginia Weidler
Sidney Kidd . . . . . Henry Daniell
Edward . . . . . Lionel Pape
Thomas . . . . . Rex Evans

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The Philadelphia Story [HD] 1941
Starring: Katherine Hepburn-Cary Grant-Jimmy Stewart

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‘Practically Perfect In Every Way’

‘Practically Perfect In Every Way’
Making of Mary Poppins In Six Parts
Post Created by Jk the secret keeper
Created on 25th July 2013
Posted On 26th July 2013 BLAKE EDWARDS BIRTHDAY TODAY
DEDICATED TO BLAKE EDWARDS & HIS LIFE WITH JULIE ANDREWS
FILM FRIDAY
dedicated to roger ebert film friday

I love the story that Blake Edwards would tell that they, Julie Andrews and Blake, met in passing cars both either on the way or just leaving their analysts offices. Happy Birthday Blake. He would be 91 today, born 26th July 1922. I am doing this tribute for Julie and Blake. Wednesday was a post on Mary Poppins and other Julie related stories in my Lightness of Being Wednesday. Film Friday, I am recalling Julie going through her life, the majority of which was spent sharing her life with Blake.

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And the second part of this post is devoted to a Six Part ‘The Making of Mary Poppins,’ Julie Andrews introduction into the world of film and entering the world that her husband Blake Edwards was well a part of before their worlds crossed. So enjoy the story I am about to tell and photographs of love and film characters. And learn how Julie’s first film ever was build up from the bottom and became the success that it did and made Julie Andrews the movie star that dominated the film world for many decades.

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I am not the only one who fell in love with her. She was the most popular actress of all time throughout the 60s and 70s. She was a grand dame. She remains so today. A truly gifted and giving individual, especially in the world of children as a children’s author and an advocate for them throughout the world.

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Blake and Julie really loved each other. It is so comforting to live your life with someone who gets who you are and loves you for it. Blake got to live with Julie and Julie got to live with Blake. A great feeling to have their kind of love. The ups and downs of moods but love always at the foundation. It must be a strange day for Julie without Blake, for all the many years they celebrated this day. Who knows what kind of special plans they would share together and with the rest of the family. Wish you well Julie and to the rest of the Edwards family.

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Julie Andrews and Blake Edwards were married in 1969. They had 5 children. Blake brought two children to the marriage, Jennifer and Geoffrey and Julie brought one child, Emma Walton and together they adopted two Vietnamese girls, Amelia in 1974 and Joanna in 1975. Blake and Julie worked together on 10 – S.O.B. – Tamarind Seed – Darlin Lili – That’s Life – Victor/Victoria [Julie received an Oscar Nomination] and Victor/Victoria on the Broadway.

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Julie received a Tony Nomination for her role in Victor/Victoria, in which she declined and made her infamous ‘egregiously’ overlooked speech standing up for the entire team of “Victor/Victoria” who were totally snubbed for any nominations themselves.


Julie Andrews turning down her Tony Nomination for Victor/Victoria
17 years ago on May 8th, 1996.

Blake was the producer, director and writer of the show. They used Henry Mancini’s music and lyrics, he had already died before they could get it to Broadway. Extra songs were written by Leslie Bricusse [music] and Frank Wildhorn [lyrics].

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Julie’s voice was really tested to the limit and shortly thereafter she had her throat surgery from which she never recovered her singing voice, we all love. Julie became extremely depressed after this. But eventually started to write with Emma, working in the theatre at Sag Harbour and other ventures. Then came the new children’s books they worked on together.

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When Julie and Blake met in their passing cars leaving or heading to their psychoanalyst’s office, sometime in the mid-60s, in-between Mary Poppins and The Sound of Music. It was amusement and love at first sight. Julie divorced Tony Walton, her first husband and Emma’s father, in 1967.

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Tony and Julie have and still do work together on many projects and have remained friends over the years. Julie after she lost her ability to sing, due to the throat surgery gone bad in the 90s, has done some film work, Princess Diaries being my favorite.

On Dec. 15th, 2010, Blake Edwards died of complication from Pneumonia. Julie was by his side. He was 88.

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The first book she wrote Mandy, which I read and fell in love with, was inspired by a dare from her children, I believe specifically Jennifer Edwards. It was a dare to get Julie to stop swearing. If she didn’t then she had to write a story for them. Well, she wrote her first book. It is quite good and I highly recommend it for middle aged children to adults. It is magical.

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Wonderful things start to happen for Mandy after she wanders away from the boarding school she attends. She comes upon a cabin. Like an enchanted house just right for a young girl. I wanted to be Mandy. She is someone to emulate. It has been a while since I read Mandy. I should put on my reading list again. It would be enjoyable to remember and relive those moments of escape from my world. In this way I felt so much like Mandy.

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Julie found another calling due to her predisposition to swearing. She has quite the rep for her language. Anyway a wonderful book and a must read for anyone who likes to see surprisingly good things happen to those who deserve them.

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Now Julie works with Emma writing more children’s books and turned one into a musical with the help of Tony Walton. Julie is leading an active life. She is looking fabulous. Last picture, fairly recent, I saw of her was from Australia. She was part of a large party in a restaurant and her companion sitting next to her was her chum Angela Lansbury. Julie looked happy, as happy as one could be.

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If I remember correctly, the two were both up for Bednobs and Broomsticks and as anyone who has seen B & B, we know Julie did not get that part. But then, she was Mary Poppins and Maria Von Trapp. Pretty good choices. I think I am almost over Julie not getting cast as Eliza Doolittle in My Fair Lady. Audrey Hepburn was offered the role and she only accepted when she found out that Julie was never going to be considered for the role. A final decision made by Jack Warner, the head of Warner Bros.

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And Julie received her Oscar for Mary Poppins and a nomination for The Sound of Music. By ticket prices today and the number of tickets sold for The Sound of Music, it is the 3rd highest grossing films of all time.

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My wish for Julie is to find at least one more remarkable role, she is chosen to play the part and it is so powerfully done, she is nominated for all the awards, especially the Oscar, and when they announce who is going to take home the Best Actress Oscar, they call out the name, Julie Andrews.
By Jennifer Kiley

Mary-Poppins on cloud waiting for the call with carpet bag parrot umbrella

A Modified Film Review of Mary Poppins

Mary Poppins, a not very ordinary nurse maid, who has charmed millions of children (and grown-ups) throughout the world since she first entered the literary world through the author Ms P. L. Travers in 1934, was finally made into a movie, with Julie Andrews. I loved the books and was so delighted to find out about the movie.

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A combination of animation and humans interacting, a musical score so delightful, I fell asleep to it every night for so many years, wearing out so many LPs and Tapes and eventually to CD and MP3.

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A film great for children and adults alike. If you know Mary Poppins, you know that no one would dare to try to fool around with her appearance and her staunch individuality. She would have a few words to say about that with a warning and saying crisply, “That will be quite enough of that.”

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This is the genuine Mary Poppins that comes sailing in on an east wind, her open umbrella sailing over the starboard bow, to take on the care of the Banks children, Jane and Michael, in their parents’ London home, and vastly uplift the spirits of that father-dominated family.

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Julie Andrews is superb. with her feet splayed out to give her an unshakable footing and a look of complete authority, who calmly proceeds to show her charges that wonders will never cease and that there’s nothing like a spoonful of sugar to help the medicine go down, but, of course, they are different colours for Jane, Michael and Mary, too, ‘rum punch.’. With her unrelenting discipline and her disarmingly angelic face, she fills this film with a sense of wholesome substance and the serenity of self-confidence.

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Mary Poppins is a wonderfully agile spirit with a gift for fun. To her, it is not the least amazing that she can fly with an umbrella, slide upstairs on banisters on which ordinary people slide down, walk through chalk drawings on the pavement into glittering magical worlds, and take her young charges along with her, to their surprise and delight. They pass into a cartoon wonderland where barnyard animals dance about. There’s a carousel where the horses take off on a grand adventure. They get mixed up in a cartoon fox-hunt, with a darling Irish fox, and ride on into the Derby horse race, which, needless to say, Mary Poppins wins.

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A brilliant ballet sets in motion, after the children are sucked up to the rooftops and Bert and Mary must follow. Julie Andrews with Dick Van Dyke as Bert scatter and join in with a gang of chimney-sweeps on the London rooftops. Dick is joyous as Bert, the delightful and irrepressible street merchant who is the companion of Mary Poppins and the kids. The latter, performed by Karen Dotrice and Matthew Garber, are just as they should be, and their parents—appropriately eccentric—are done beautifully by David Tomlinson and Glynis Johns.

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Ed Wynn is grand as Uncle Albert, who soars up to the ceiling when he laughs, and Reginald Owen makes a great Admiral Boom, the nautical neighbor, a natural caricature. Hermione Baddeley, Elsa Lanchester, and Arthur Treacher are droll but perfect in smaller roles. Robert Stevenson directed with inventiveness with a true flair for creating a genuine Mary Poppins.

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It is sentimental but that’s what makes it so enjoyable. Mary Poppins has a saying, “Practically perfect people never permit sentiment to muddle their feelings.” But being not practically perfect, she is irresistible. Children and adults will feel this way ever so easily.

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So enjoy the following videos of ‘The Making of Mary Poppins.’ Hear the inside story of how it all came about, such a classic film of pure delight and entertaining as well, from start to finish, from surprise to surprise. You never want the wind to change. If you’ve seen the film, you know what happens when the wind changes. See the film if you never have and let the child out inside of you and if you have seen Mary Poppins, maybe it is time to see it again. Written by Jennifer Kiley


Julie Andrews Winning Oscar for Best Actress in Mary Poppins

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The Making of Mary Poppins [1/6]

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The Making of Mary Poppins [2/6]

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The Making of Mary Poppins [3/6]

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The Making of Mary Poppins [4/6]

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The Making of Mary Poppins [5/6]

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The Making of Mary Poppins [6/6]

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a divider for post no. 5 love fav new one thinner

First Kiss

First Kiss
Poem Written by Jennifer Kiley
Collage Created by j. kiley
Created 04.15.13
Posted 04.15.13

first kiss by j. kiley © jennifer kiley 2013

first kiss by j. kiley © jennifer kiley 2013

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[youtube=https://www.youtube.com/watch?v=RNdl-HIkDqQ&w=326&h=184]
Something Good — Julie Andrews & Christopher Plummer

QUOTATIONS on FIRST:

“It wasn’t that long, and it certainly wasn’t the kind of kiss you see in movies these days, but it was wonderful in its own way, and all I can remember about the moment is that when our lips touched, I knew the memory would last forever.” ― Nicholas Sparks, A Walk to Remember

“Hannah wasn’t my first kiss, but the first kiss that mattered: the first kiss with someone who mattered.” ― Jay Asher

“No, this trick won’t work… How on earth are you ever going to explain in terms of chemistry and physics so important a biological phenomenon as first love? ” ― Albert Einstein

“I am glad it cannot happen twice, the fever of first love. For it is a fever, and a burden, too, whatever the poets may say.” ― Daphne du Maurier, Rebecca

“I was in love, and the feeling was even more wonderful than I ever imagined it could be.” ― Nicholas Sparks

“There’s no love like the first.” ― Nicholas Sparks

“When you care more if someone else lives than you do about yourself- is that what [love is]?” ― Jodi Picoult, My Sister’s Keeper

“True love, like any other strong and addicting drug…to those who share the kisses, who give and take the caresses while every sound and color of the world seems to deepen and brighten around them. As with any other strong drug, true first love is really only interesting to those who have become its prisoners. And, as is true of any other strong and addicting drug, true first love is dangerous.” ― Stephen King, Wizard and Glass

“Everybody says the first cut is the deepest. It’s so true. I don’t know if it’s because it’s the best love, but it’s the first that you remember. There is one boy that I will remember for the rest of my life, and I wouldn’t go as far as to say, ‘Oh I was in love with him and he broke my heart’. You hold on to that, just that first experience, it’s good to have and you should appreciate it, even if it hurts.” ― Kristen Stewart

“The first stab of love is like a sunset, a blaze of color…” ― Anna Godbersen, The Luxe

“Love, like everything else in life, should be a discovery, an adventure, and like most adventures, you don’t know you’re having one until you’re right in the middle of it.” ― E.A. Bucchianeri, Brushstrokes of a Gadfly

“The paradox of love is that to have it is to want to preserve it because it’s perfect in the moment but that preservation is impossible because the perfection is only ever an instant passed through. Love like travel is a series of moments that we immediately leave behind. Still we try to hold on and embalm against all evidence and common sense proclaiming our promises and plans. The more I loved him the more I felt hope. But hope acknowledges uncertainty and so I also felt my first premonitions of loss.” ― Elisabeth Eaves, Wanderlust

“Think of that person you knew when you were a kid, who you always thought you could have loved completely and forever.Well, you could have. It’s the truth, and it’s the saddest and simplest thing. There isn’t just one person for each of us in the world. There aren’t many, but there are always a few people we could have made it with, that maybe we still want to make it with, that press themselves so close to our hearts they leave scars, and then slip through our fingers and disappear from our lives. And it doesn’t make a difference if you’re thirteen or ninety- eight because some things you feel are real, no matter when.” ― Abigail Tarttelin, Flick

“In the darkest hour of winter, when the starlings had all flown away, Gretel Samuelson fell in love. It happened the way things are never supposed to happen in real life, like a sledgehammer, like a bolt from out of the blue. One minute she was a seventeen year-old senior in high school waiting for a Sicilian pizza to go; the next one she was someone whose whole world had exploded, leaving her adrift in the Milky Way, so far from earth she was walking on stars.” ― Alice Hoffman, Local Girls

“In the morning, that moment, when I knew it was you. When I could feel you breathing and we opened our eyes at the exact same time.”
― Kate Chisman

“Suddenly they were dancing, holding each other tight, moving in circles that symbolised their relationship, both afraid to let go, both willing the song to continue while silently their insides tore.” ― Anna McPartlin, Apart From The Crowd

“We fitted together like the two halves of an oyster-shell. I was Narcissus, embracing the pond in which I was about to drown. However much we had to hide our love, however guarded we had to be about our pleasure, I could not long be miserable about a thing so very sweet. Nor, in my gladness, could I quite believe that anybody would be anything but happy for me if only they knew.” ― Sarah Waters, Tipping the Velvet

“He leaned down and placed his lips on mine and gave me the most delicious kiss of my entire life. I saw fireworks light up the night sky. My heart beat like a drum. I knew without a shadow of a doubt that I loved him, and that made this kiss the best of my entire life. This kiss was the real thing.” ― Shannon McCrimmon, The Year I Almost Drowned