and remember to be decent to everyoneall of the time.
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The kids are great, though.
Last thought: would it kill the theater community to learn how Nazis spoke, acted, and marched? The lack of menace from the Nazis was the last bit of flabbiness that undermined the production.
So yes, ALL media which influences how people see the world should be as accurate as possible.
No one remembers the political part of the Sound of Music. Why would they? We remember the awesome songs and the generally creepiness of this guy gunning for his childrens' nanny.
Don't worry, Sound of Music or not, when most Americans hear "Austrians," the first thing they think is "little Nazi fucks." Or they think, nothing, or they think, nah, it's spelled, 'Australia.' Weirdly, I don't think this about Germans, probably because there is all kinds of stuff I know about modern Germany: political importance, and their awesome cities and culture. But I've literally never heard anything about Austria other than Nazism.
So, the legacy of Austrians as terrible Nazis is safe.
Why the hell anyone would want to silence him on this country's weird cultural appropriation is beyond me.
I'm still waiting for the 9.11 musical. Can't wait to see all the cultural snobs crawling out of the woodwork to defend that...
are you telling me that gary, indiana is not the beautiful small-town paradise i learned about in "the music man"?
I agree with judybrowni @23. The author is an actual Austrian sharing an Austrian perspective on this musical. Maybe all y'all could stop being so damn butt hurt about it.
I can't speak for anyone else, but I'm not "butt hurt." The topic is a musical for christ's sake. How hilariously preposterous is it to take issue with its historical accuracy? Forget history, you can't even expect fidelity to reality!
You're baffled? Lot's of lovely songs and costumes. Cinematography. Talent aplenty. Art doesn't need to be a documentary. Sometimes it's just fun and beautiful. Sometimes timeless, moving themes can be injected into historical bullshit. Try loving the people around you for the people that they are, not as the historical purists that you might hope they would be.
We grew up with this movie and have varying degrees of fondness for it as part of both our cultural and personal landscapes.
The author did not, and comes to it with a different perspective not the least of which is his country of origin and the way this movie is viewed there (or not).
Americans love this musical.
To quote another American musical:
Let it go.
They were adorable.
and Zander's comment is comedy gold.
Sorry, I've been listening to the same sort of supposed intellectuals talk trash about musicals since my Freshman year as a theatre major at the U of Iowa. (While we're on that topic, don't get me started on Austrian Operettas) Just remember, my dear artistes: Musicals pay the bills for the one act plays exploring your teenage angst that you wrote to get back at your parents.
However, you must also remember the navigational prowess to follow in a car someone rowing a boat from the ship canal to Alki.
To the author's point...so what? It's a musical, fer cripes sake.
You did mention that your friends "made" you watch this show; did they restrain you and place mechanical devices on your eyelids in the manner of "A Clockwork Orange"? You didn't have to watch and I think you had a good idea as to what it was about. After all, kein mensch muss mussen. Sorry, I don't have an umlaut or s-set key.
"Set in Austria in 1938, this is a tribute to freshness that is so mechanically engineered and so shrewdly calculated that the background music rises, the already soft focus blurs and melts, and, upon the instant, you can hear all those noses blowing in the theatre. Whom could this operetta offend? Only those of us who, despite the fact that we may respond, loathe being manipulated in this way and are aware of how cheap and ready-made are the responses we are made to feel. We may become even more aware of the way we have been turned into emotional and aesthetic imbeciles when we hear ourselves humming the sickly, goody-goody songs."
When I was a small child, my parents showed the film to me but switched it off after the marionette scene, telling me it was the end of the movie. They didn't want to have to explain Nazism to me at the time, and I understand that a little boy might have quite a bit of trouble processing the fact that there was a whole political ideology centered in part around the extermination of his people. A few years later, we watched it again, this time in full.
I was thunderstruck. The tape had been rewound and replayed, and more film had been somehow generated as a result! And for some time afterward I speculated, at the end of movies, that maybe if we rewound it and played it again there would be more to see. God only knows what conclusions I would have drawn about DVDs had they been widely available at the time.
And the scene in "Harry in Your Pocket" where they get on an elevator in the lobby of the Olympic Hotel and in the next scene are in a room at the Washington Plaza is an outrage.
Too bad so many oh-so-cool Sloggers are idiots.
"Birth of a Nation" is also considered entertainment. Pre-TexASS school board brainwashing. Don't we still condition the children that slavery/genocide = freedom? The Sound of Music is the history the Northwest wants to believe it's own history is like.
"American Nations", Colin Woodard. Then you can see some of the migration patterns, even for Seattle. But the Northwest is full of "indian reservations" and the locals are still upset the "Kennewick Man" didn't man up.
"Lies My Teacher Told Me", James Loewen.
"War Against the Weak", Edwin Black.
So if you're Robert Wise, and studio executives are on your back for going though so much money, and you want show the Nazi invasion - do you spend thousands more on casting a accurate portrayal with crowds or show a few Mercedes-Benz 770's adorned with Nazi flags rolling through ominously rolling through a town square?
You say you understand tweaks and creative license, but yet you want true depictions. You can't have both. Sorry.
I don't think this author has to worry about having friends that will force him to watch any movies in the future. Might want to look into a Netflix account for those einsame Nächte!
*@herrbrahm #7 - "the current production at the 5th cast a Von Trapp who can't sing." That's unimaginable! Ever hear Christopher Plummer sing? Probably not, since his singing was dubbed by singer Bill Lee. https://en.wikipedia.org/wiki/Bill_Lee_(…
Yes, yes. I know that you can't just run down the hill in 10 minutes from Obersalzburg to Saltzburg as Maria did but I do do know, having lived in Obersalzburg for 2 years that many people did wear lederhosen on hikes during their urlaub.
Does anybody think that the musical Oklahoma is an accurate portrayal of early 20th century Oklahoma? I think not.
That being said, it's not a good musical. Maria Von Trapp's autobiography, however, is a good book (very different from the musical).
Seven Brides for Seven Brothers, for instance, shows the peculiar American courting style where a man must kidnap a woman in order to marry her, while quoting Livy's story about the abduction of the Sabine women.
Should Maria break her vow to God to marry a mortal?
Should the captain work for the Nazis to maintain his prestige and power?
Should Liesl give her virginity to a 17yo, or "wait a year or two" as Maria advises?
(she broke it off)
Roger's and Hammerstein's South Pacific similarly borrowed a mostly fictionalized time and place to reveal and denounce racism. They wrote great show tunes, but their real brilliance was using their productions to expose and comment on provocative moral and social issues.