The Sound of Music - Movie Review Example

Name of Author Professor Subject Date Introduction Since the making of The Sound of Music the soothing entertainment has been appreciated by lovers of musicals and its critics alike. The film amazingly balances piety, patriotism, as well as redemptive love. What is great about this film is that it doesn’t seem to age given that it was produced on 1965. This can be attributed to the wonderful performances of the main characters as well as the interpretations of its audience through analyzing the film’s semiotics. Semiotics can be defined to as the science of signs, and in the case of films, these signs encompass sound and pictures. The great thing about the language of film – pictures and sound – is that it is universal and that everybody understands it (Bignell 13). Although it may be difficult to get a film that is acted in a foreign language, audiences are always interested in understanding the film rather than learning the language used. The only way to achieve this is by analyzing the semiotics used in the film; that is having a closer look at the signs that are used in the film. Understanding semiotics helps people tell stories, discuss, and entertain others about the film they have watched (Bignell 56). This paper will therefore analyze the semiotics of the film The Sound of Music. Clothing can tell someone about another person’s values and personal style. In film, clothing is used to create characters that the target audience can easily identify with (O'Neill 89). In one scene in the film The Sound of Music, we are introduced to three nuns who are discussing in secret about Maria. One says to the others, “How do you solve a problem like Maria?” According to Stuart Hall, ideology is the mental framework made up of imagery, language, concepts etc. created by the society in order to make sense of how the society operates (Monaco 37). The general ideology that people have of nuns, therefore, is that they are religious and according to Christianity, nuns are not supposed to judge others. Their nun attires tell the audience that they are nuns and religious. However, by secretly meeting and talking in low tones about Maria catches the audience by surprise. Ideally, their status means that they should be approaching Maria and helping her in her failing quest to become a nun. It is not their attires and behaviour that go contrary to the ideology of their religion because the language they use is not appropriate for people of their stature in the society. The question “How do you solve a problem like Maria?” basically classifies Maria as a problem to the entire institution (The Sound of Music 1965). The audience is made aware that Maria’s attempts to becoming a nun are becoming futile but does that qualify her as a ‘problem’. As the film wears on, it becomes clear that Maria has trouble with her efforts to being a nun. Apparently, she knows that she doesn’t want to be a nun. In the real world today, if one withdrew from being a nun, the society would take it as that person not being religious. The main ideology that people have is that once a nun leaves the convent because she doesn’t believe she can be a nun, then earthly forces are the cause of that. As such she is not religious enough in the view of the society. However, even after she leaves the convent for the Captain’s place, Maria still remains prayerful. The film maintains this character and sign by allowing Maria to continue wearing her crucifix (The Sound of Music 1965). The snapshot below shows Maria at the dining table with the Captain’s children and clearly she is wearing her crucifix. This therefore demystifies the idea that one cannot remain religious even after leaving the convent. Aside from clothing, music has been extensively used in the film to draw meaning to and support the different the different scenes. Usually, in musicals, the distinction existing between the ‘real’ environment of normal talk and the heightened communication conveyed through song is clearly defined. However, is The Sound of Music, this distinction is broken quietly. One particular song that achieves this is "My Favorite Things," and it is played as Maria receives the Captain’s troublesome children (The Sound of Music 1965). This is ironic because Maria knows that she is not the first governess to take care of the Captain’s children. Their mischievousness has led to several governesses quitting their position in the Captain’s house. Surely, Maria knowing this cannot make the children her favourite things at that particular time. Society’s ideology is that mischievous children are not likable and should be punished in order to straighten their behaviour. Contrary to this, what the song is meant to achieve is to link Maria’s prayerful nature to the children giving the audience a feeling that maybe Maria may just be what the children need. In addition, she is kind and is sure to extend this kindness to the seven children. In another scene, the children accompany Maria to the courtyard of death where Gretel asks Maria if it is a good time to sing "My Favorite Things," because she is terrified. The symbolism created by this song is that it acts in dual realms – performance (real) and expression (unreal). Another song ‘Do-Re-Mi’ sang by the nuns is arguably the most original of the group. It is based on the seven pitches of the scale and what the song does is that it matches the Captain’s seven children (The Sound of Music 1965). As can be seen from the snapshot of the film, the children arrange themselves in order from the youngest on the right to the oldest on the left. This arrangement has been used as a sign to let the audience know who is the youngest and who is the oldest of the Captain’s children. The joyful nature of the nuns when Maria is preparing to walk on the aisle to get married is another surprising act. In the society, it is a fact that nuns will not get married in their life time. However, the nuns in this film are singing in joy for Maria who is about to get married to the Captain. It is worthy to note that it is these very same nuns who had earlier stated that Maria was a problem. Although they have vowed never to get married, their joyous singing makes the audience believe that they believe in the marriage union. To them, marrying the Captain might be the answer to solving the ‘Maria problem’. It is clear from the film that Maria loves to sing and so makes it her job to teach the Captain’s children some of the songs she loves. Through their romps on the hills, she sings and they are all inspired to sing with her. Her achievement in this makes the children begin to love her and this acts as a catalyst of the love that Maria and the Captain have for each other. Music here is used to develop a love bond between the children and Maria and Maria and the Captain. This two snapshots show Maria on the hills singing to the children and telling them that they need to appreciate even the smallest of things such as rain drops. The environment in the film gives two different surroundings of peace and chaos. The huge spaces used in the film create a sense of peace, an opportunity for one to grow, breath and explore. From the monastery to the Captain’s residence, space has been used effectively. These two particular environments – monastery and Captain’s residence - are safe haven for the characters involved. A particular scene in the convent brings this out as peace and safety prevails. In another scene, the Captain can be seen having dinner with his entire family. As a safe haven for his children, the Captain is expected to be a family man who provides for his family. The society believes that the man should be the provider and the woman the caregiver. The fact that the Captain expects his entire family to sit in one table during meal times is testament that he is that ideal family man. The set is well arranged with both Maria and the Captain one opposite ends and the children sitting across each other at the dining table signifying a happy family. Despite the general safe haven that is the Captain’s house, it is without calmness either. The children are chaotic at one point when Maria offers to help one of the girls with her hair she says ‘I said I did not need a governess’. She is not welcoming of Maria’s help and she thinks that she is like the other previous governesses. It is trend that the children have developed and they are sure that Maria too will not last long. However, Maria reacts in a positive way showing her kindness and love to the girl as if indirectly assuring the girl that everything will be different with her since all they need is some loving and understanding. Conclusion In conclusion, several ideas are presented in the film that may appear contrary to societal beliefs. Matters to do with religion are held in high regard and groups such as nuns represent this ideology. However, the film presents a different perspective that is different from the society’s expectations. Using clothes, language, text, music, and the environment, The Sound of Music manages to create a society that thrives on different ideologies. Societal beliefs of today are put aside as the film uses individual characters to symbolize different ideas that may not necessarily conform to what we appreciate today. Maria’s introduction to the convent and then to the Captain’s house is symbolic of change in society and she acts as the catalyst. Her individual character is a symbol of this change. However, it is the captain who fulfills this change. Works cited Bignell, Jonathan. Media Semiotics: An Introduction. Manchester: Manchester Univ. Press, 2002. Print. Wise, Robert. The Sound of Music. Robert Wise Productions and Argyle Enterprises. 1965. DVD. O'Neill, Shaleph. Interactive Media: The Semiotics of Embodied Interaction. London: Springer, 2008. Internet resource. Monaco, James. How to Read a Film: Movies, Media, and Beyond : Art, Technology, Language, History, Theory. Oxford: Oxford University Press, 2009. Internet resource. Read More

The main ideology that people have is that once a nun leaves the convent because she doesn’t believe she can be a nun, then earthly forces are the cause of that. As such she is not religious enough in the view of the society. However, even after she leaves the convent for the Captain’s place, Maria still remains prayerful. The film maintains this character and sign by allowing Maria to continue wearing her crucifix (The Sound of Music 1965). The snapshot below shows Maria at the dining table with the Captain’s children and clearly she is wearing her crucifix.

This therefore demystifies the idea that one cannot remain religious even after leaving the convent. Aside from clothing, music has been extensively used in the film to draw meaning to and support the different the different scenes. Usually, in musicals, the distinction existing between the ‘real’ environment of normal talk and the heightened communication conveyed through song is clearly defined. However, is The Sound of Music, this distinction is broken quietly. One particular song that achieves this is "My Favorite Things," and it is played as Maria receives the Captain’s troublesome children (The Sound of Music 1965).

This is ironic because Maria knows that she is not the first governess to take care of the Captain’s children. Their mischievousness has led to several governesses quitting their position in the Captain’s house. Surely, Maria knowing this cannot make the children her favourite things at that particular time. Society’s ideology is that mischievous children are not likable and should be punished in order to straighten their behaviour. Contrary to this, what the song is meant to achieve is to link Maria’s prayerful nature to the children giving the audience a feeling that maybe Maria may just be what the children need.

In addition, she is kind and is sure to extend this kindness to the seven children. In another scene, the children accompany Maria to the courtyard of death where Gretel asks Maria if it is a good time to sing "My Favorite Things," because she is terrified. The symbolism created by this song is that it acts in dual realms – performance (real) and expression (unreal). Another song ‘Do-Re-Mi’ sang by the nuns is arguably the most original of the group. It is based on the seven pitches of the scale and what the song does is that it matches the Captain’s seven children (The Sound of Music 1965).

As can be seen from the snapshot of the film, the children arrange themselves in order from the youngest on the right to the oldest on the left. This arrangement has been used as a sign to let the audience know who is the youngest and who is the oldest of the Captain’s children. The joyful nature of the nuns when Maria is preparing to walk on the aisle to get married is another surprising act. In the society, it is a fact that nuns will not get married in their life time. However, the nuns in this film are singing in joy for Maria who is about to get married to the Captain.

It is worthy to note that it is these very same nuns who had earlier stated that Maria was a problem. Although they have vowed never to get married, their joyous singing makes the audience believe that they believe in the marriage union. To them, marrying the Captain might be the answer to solving the ‘Maria problem’. It is clear from the film that Maria loves to sing and so makes it her job to teach the Captain’s children some of the songs she loves. Through their romps on the hills, she sings and they are all inspired to sing with her.

Her achievement in this makes the children begin to love her and this acts as a catalyst of the love that Maria and the Captain have for each other. Music here is used to develop a love bond between the children and Maria and Maria and the Captain. This two snapshots show Maria on the hills singing to the children and telling them that they need to appreciate even the smallest of things such as rain drops. The environment in the film gives two different surroundings of peace and chaos.

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