The Key Cinematic Elements in The Sound of Music - Movie Review Example

The Sound Of Music John Deane ENG 225 Colin Murcray May The Sound of Music Introduction Human beings are such critical and fickle minded creatures. As an artform, it takes a lot for a film to succeed in the industry. The term “classic” is awarded to only a number of films and critics may not even always agree on branding a film with such accordance. However, when it comes to classics, perhaps every critic would agree that the 1965 film The Sound of Music truly deserves the recognition because it is a fine example of how the right mix of a good story, impeccable acting, breathtaking cinematography, and harmonious sound design could work together to create a film that will be remembered for decades to come (Manchel, 1990). This paper will discuss the elements of the film, The Sound of Music (1965), and will attempt to use these elements in dissecting and critiquing a great film classic. In particular, this paper will discuss how the elements of Storytelling, Acting, Cinematography, and Sound worked together to create one of the most magnificent films to grace the silver screen. Finally, the paper will end with a criticism and analysis of the film that has won the hearts of audiences from all over the world, spanning many generations. Storytelling What makes a film a film? How does one know that it is not a painting or a short story? The elements that make a film unique are its form and content. Essentially, content refers to what the film is about while form is how the film’s content is expressed (Benshoff & Griffin, 2004). Both of these elements interact with one another and more often than not, one tends to follow as a direct result of the other. In effect, a film simply wants to tell a story and must tell this story using the elements available to it (Honthaner, 2010). With this, it is worth mentioning the aspects of the film in terms of its story and plot. A story is a narrative of events arranged in their time sequence. The only merit of a story is that it makes the audience want to know what happens next. On the other hand, a plot is also a narrative of events but the emphasis now falls on causality (Goodykoontz & Jacobs, 2011). It should also be noted that the plot is used to describe all visual and sonic elements present in a film. Quite simply, the plot is what happens in the movie while the story is what the movie is about (Lehman & Luhr, 2003). Thus, the plot is the logical progression of events that is used to tell the story. In “The Sound of Music,” the story can be summed up as “Maria sees life from a whole different perspective when she leaves an Austrian convent to become the governess of Captain Von Trapp’s children.” As one can see, the story is quite simple and direct to the point. On the other hand, the plot may be a little more verbose. It is 1930’s in Austria and Maria, a lady from the convent who is a bit rough around the edges, has just been assigned as governess of the seven mischievous children of Captain Von Trapp, a Naval officer widower. The naughtiness of the children comes from a desire to get their father’s attention who runs the household in a very strict manner when he is not away. While Maria was initially met with the same hostility that the children awarded to their previous governesses, Maria soon wins them over with her kindness, spunk and musical inclinations. Soon, Maria and the Captain fall in love and their relationship is soon overshadowed by their socio-economic differences as well as the socio-political events of the time (Wise, 1965). The film used a linear approach to story-telling. The linear approach to story-telling is one where the scenes in the film are presented in a chronological sequence (Goodykoontz & Jacobs, 2011). Because it used the chronological way of telling the story, the audiences were transported as voyeurs looking into the life of Maria and the Von Trapp family. At the helm of the movie as a storytelling device is its director, Robert Wise. The film was based on the book by Howard Lindsay and Russel Crouse and transported into film through the screenplay of Ernest Lehman (The Sound of Music, 2011). While the story is essential in capturing the interest of the audience, the movie will not work quite effectively without a proper script and appropriate direction. In these two aspects, the film showcased very witty lines that provided enjoyment to the viewers. For example, the exchange between Capt. von Trapp and Maria below (Wise, 1965): Captain von Trapp: Its the dress. Youll have to put on another one before you meet the children. Maria: But I dont have another one. When we entered the abbey our worldly clothes were given to the poor. Captain von Trapp: What about this one? Maria: The poor didnt want this one. Indeed, he film, as a storytelling device, was able to accomplish its goal quite effectively. The film’s story, plot, and sharp dialogue were able to keep the audience’s interest throughout the nearly three-hour long film. Acting There are five types of actors which are commonly found in theatres and films. They are the Impersonator, the Personality actors, the Stars, the Wild Cards and the Character actors (Goodykoontz & Jacobs, 2011). In the film, the actors were quite effective in portraying their respective roles. The film is top-billed by Julie Andrews, who plays the role of Maria, and Christopher Plummer as Captain Von Trapp. The seven Von Trapp children, the Baroness, Max Detweiler, and the sisters from the convent (The Sound of Music, 2011) likewise played important roles in the development of the film. It has been said time and again how perfect Julie Andrews was for the part of Maria, because she was able to exude the kind of innocent yet strong personality that was needed to make Maria connect with the audiences. Julie Andrews is no doubt a Star actor. Simply put, a star actor is someone who can make the audience troop to the movie theater and see the film when there is no other reason to go and see it (Goodykoontz & Jacobs, 2011). At this time in her career, Julie Andrews has already made a name for herself in the acting department as she has starred in a number of musicals previously. Having her in another musical most likely prompted viewers to be interested enough to see the film. In the same manner, Christopher Plummer also fit the role of Captain Von Trapp quite perfectly as he exuded a strict demeanor and the kind of charm that most men in uniform exude. Christopher Plummer is also considered a Star Actor who has gained distinction for his acting capability in a number of films he has made. The other characters in the film like the seven Von Trapp children, the Baroness, Max Detweiler, and the sisters from the convent also made significant contributions to the film through their acting and singing skills. These actors may be labeled as Wild Cards because they are able to perform several roles quite well so that they were not really boxed into a specific genre of films (Goodykoontz & Jacobs, 2011). Interestingly enough, the seven von Trapp children did look as if they were brothers and sisters and they complemented each other very well. The Baroness (Eleanor Parker) and Max Detweiller (Richard Haydn) played their respective roles to the letter. The nuns at the abbey likewise looked and played the part that it would have been quite bothersome to have seen them being something else. The characters in the film all played their roles perfectly that they seem to have lost their individual beings and so they will always be known as “this particular character” in The Sound of Music. Cinematography If there is one element that separates a film from any other artform, it would have to be cinematography. Cinematography tends to sum up all the visual elements that make the film pleasurable to watch (Cormack, 1994). Cinematography covers lighting, camera movements and angles, and other visual effects that allow the film to transport the audiences into the actual location or setting of the movie (Goodykoontz & Jacobs, 2011). There are many personalities involved in making sure that the cinematography does justice to the story of the film, and at the forefront is the film’s director, backed up by the production designer, art director, and editor. Basically, the director’s main job is to tell the story. Thus, the director works hand in hand with the production designer and the art director for achieving an overall coherent and aesthetic production design (Goodykoontz & Jacobs, 2011). Robert Wise, the film’s director, won the Academy Award for his direction of The Sound of Music. His style of directing does not follow an auteurist way in such that he can apply his skills to a wide range of film genres. To illustrate this, Wise did not only direct an Academy Award winning musical (The Sound of Music, 1965) but also includes in his repertoire critically acclaimed drama (Citizen Kane, 1942), war films (The Sand Pebbles, 1967), and even horror (The Curse of the Cat People, 1944). As such, he gave The Sound of Music a unique treatment that is quite different from all his other films, except perhaps for the level of quality that he imparted upon it. The lighting of the film evoked a softness that was quite typical of earlier films. I think one particular scene which made me appreciate the film’s lighting techniques is the one where Capt. von Trapp and Maria are just about to tell each other their feelings. The shadows in that scene emanated a sense of privacy between these two people who were likewise hiding their feelings for one another. Ultimately, the director has a lot of artistic control over the film’s production design and so his or her job oftentimes overlaps with the tasks of the production designer and the art director. The production designer likewise works closely with the costume designer, the hair and make-up stylists, the special effects director and the location manager to ensure the unified visual appearance of the movie (Sanderson, 1977). The production designer of “The Sound of Music” was able to craft a wonderful set, from the convent to the Von Trapp family, to the richness of the Austrian landscape. The costumes used by the characters such as the Captain’s uniform, Maria’s (ugly) clothes, the Baroness’ very elegant gowns, and the nuns’ costumes lent a very realistic feel to the film. The role of the art director tends to blur with the responsibilities of the production designer. However, the art director’s main goal is to unify the overall visual appearance of the scenes in the film, making sure that these scenes are able to stimulate moods, contrast features, and appeal to the target audience psychologically (Goodykoontz & Jacobs, 2011). Notably, the pleasurable experience that one derives from watching “The Sound of Music” is the superbly crafted images set against the wonderful landscape of Austria. The film likewise made use of excellent editing techniques, from the wideshots showing the landscape of Austria, to the close-ups of Maria, the Captain and the other characters, to depict the intensity of the moment. The director, production designer, set designer, and cinematographer no doubt took great efforts in designing the visuals of each scene. Lighting, costume design, and hair and makeup definitely added to the authenticity of each scene being portrayed on the screen. Sound Sound is a very important element in film because it plays a crucial role in shaping the way the viewer react to, and watches, a movie. Essentially, the influences of sound greatly enhance the visual elements projected on screen. Goodykoontz and Jacob (2011) categorize the sound elements of a film into three, namely, dialogue, musical score and sound effects. In more detail, dialogue is the conversation that goes on among, and sometimes within, the characters (Goodykoontz & Jacobs, 2011). Again, it is worth mentioning that the dialogues in this film were very witty, charming, and moving that they can be identified almost instantly to belong to the film. The lines below are just some examples of these clever dialogues: Capt. 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? Liesl: Im Liesl. Im sixteen years old and I dont need a governess. The musical score is the music that is played in the background of a scene as action takes place (Goodykoontz & Jacobs, 2011). Irwin Kostal won an Academy Award for the excellent musical scoring that he applied to the film (The Sound of Music, 2011). The film’s musical score was of a very grand nature perhaps mirroring the aspects of the abbey, a captain’s residence, the grandness of Austria, and the horrors of war. There are two types of sound effects used in film. The first kind of effects are walla, which are murmur sounds heard in the background, but does not overshadow the main characters. Then there are stock sound effects, such as nature sounds or mechanical noises (Goodykoontz & Jacobs, 2011). The sound of the tolling bells of the abbey, the splash made by Maria and the children as their boat capsized, and even the thunderclaps heard in the scene where the children ran to Maria’s room all played together perfectly well. As a musical, the sound aspect of the film played a great part in its success of the film. The sound design team were made up by James Corcoran , Bernard Freericks , Fred Hynes , Murray Spivack, Orrick Barrett, William Buffinger, Jesse Long, and Don Stern . Using the music of Rodgers and Hammerstein, the film did a wonderful job of taking the audiences to a splendid musical journey showcasing the lives of the main characters of the film. Any person living in today’s world is most likely to be familiar with the songs that make up the soundtrack of the film. Using music that appeal to the children and to the children at heart, songs like Climb Every Mountain, Maria, Do-Re-Mi, My Favorite Things, Edelweiss, Sixteen Going on Seventeen, I Have Confidence, So Long, Farewell, Lonely Goatherd, Something Good, and The Sound of Music will forever be etched in music history. Since the film belongs to the musical genre, the sound aspect of the movie is largely responsible for it to be labeled as a classic and for the film to continue tugging at the hearts of audiences of all generations. In fact, the songs and musical score of The Sound of Music still pervade the airwaves and have greatly influenced how musicals are being done today. Overall Film Criticism and Analysis Indeed, the 1965 film “The Sound of Music” truly deserves the recognition because it is a fine example of how the right mix of a good story, impeccable acting, breathtaking cinematography, and harmonious sound design could work together to create a film that will be remembered for decades to come. It does get the recognition that it deserves when in the 1966 Academy Awards, the film won Best Director (Robert Wise), Best Film Editing (William Reynolds), Best Music, Scoring of Music, Adaptation or Treatment (Irwin Kostal), Best Sound (James Corcoran of 20th Century-Fox SSD and Fred Hynes of Todd-AO SSD), and ultimately, Best Picture (The Sound of Music, 2011). References Benshoff, H., & Griffin, S. (2004). America on film: Representing race, class, gender, and sexuality at the movies. Wiley-Blackwell. Cormack, M. (1994). Ideology and cinematography in Hollywood, 1930-39. Palgrave MacMillan. Goodykoontz, B., & Jacobs, C. (2011). Film: From watching to seeing. San Diego, CA: Bridgepoint. Honthaner, E. (2010). The complete film production handbook. Focal Press. Lehman, P., & Luhr, W. (2003). Thinking about movies, Watching, questioning, enjoying. Wiley-Blackwell. Manchel, F. (1990). Film study: An analytical bibliography. Fairleigh Dickinson University Press. Sanderson, R. (1977). A historcial study of the development of American motion picture content and techniques prior to 1904. Ayer Publishing. The Sound of Music. (2011). Retrieved April 17, 2011, from IMDB.com: http://www.imdb.com/title/tt0059742/ Wise, R. (Director). (1965). The Sound of Music [Motion Picture]. Read More