Running time 174 minutes Country United States Language English Budget $8.2 million Box office $286.2 million The Sound of Music is a 1965 American produced and directed by, and starring and, with. The film is an adaptation of the 1959 of, composed by with lyrics. The film's screenplay was written by, adapted from the stage musical's. Based on the memoir by, the film is about a young Austrian woman studying to become a nun in, in 1938 who is sent to the villa of a retired naval officer and widower to be governess to his seven children. After bringing and teaching love and music into the lives of the family through kindness and patience, she marries the officer and together with the children they find a way to survive the loss of their homeland through courage and faith. The film was released on March 2, 1965 in the United States, initially as a limited.

1. Music Soundtrack Louis Armstrong
2. Music Soundtrack Luisana

Although critical response to the film was widely mixed, the film was a major commercial success, becoming the number one box office movie after four weeks,. By November 1966, The Sound of Music had become the of all-time—surpassing —and held that distinction for five years.

Jun 3, 2016 - Listen to trailer music, OST, original score, and the full list of popular songs in the film. Louisa walks home after losing her job at the cafe. Luisa Sobral's songs: Listen to songs by Luisa Sobral on Myspace, Stream Free Online Music by Luisa Sobral. Nov 14, 2016 - UPDATE: THANK YOU SO MUCH FOR YOUR SUPPORT ON THIS RELEASE. WE HAVE SOLD OUT OF OUR INITIAL PRESSING OF THIS.

The film was just as popular throughout the world, breaking previous box-office records in twenty-nine countries. Following an initial theatrical release that lasted four and a half years, and two successful re-releases, the film sold 283 million admissions worldwide and earned a total worldwide gross of $286,000,000. The Sound of Music received five, including. The film also received two, for and, the Directors Guild of America Award for, and the for Best Written American Musical.

In 1998, the (AFI) listed The Sound of Music as the greatest American movie of all time, and the greatest movie musical. In 2001, the United States selected the film for preservation in the, finding it 'culturally, historically, or aesthetically significant'.

Contents. Plot In 1938, Maria is a free-spirited young Austrian woman studying to become a nun at in. Her love of music and the mountains, her youthful enthusiasm and imagination, and her lack of discipline cause some concern among the nuns. The Mother Abbess, believing Maria would be happier outside the abbey, sends her to the villa of retired naval officer Captain Georg von Trapp to be governess to his seven children—Liesl, Friedrich, Louisa, Kurt, Brigitta, Marta, and Gretl. The Captain has been raising his children using strict military discipline following the death of his wife.

Although the children misbehave at first, Maria responds with kindness and patience, and soon the children come to trust and respect her. Liesl, the oldest, is won over after Maria protects her from discovery when she is nearly caught sneaking back into the house after meeting with Rolfe, a messenger boy she is in love with. While the Captain is away in Vienna, Maria makes play clothes for the children and takes them around Salzburg and the surrounding mountains, and teaches them how to sing. When the Captain returns to the villa with Baroness Elsa Schraeder, a wealthy socialite, and their mutual friend, Max Detweiler, they are greeted by Maria and the children returning from a boat ride on the lake that concludes when their boat overturns. Displeased by his children's clothes and activities, and Maria's impassioned appeal that he get closer to his children, the Captain orders her to return to the abbey. Just then he hears singing coming from inside the house and is astonished to see his children singing for the Baroness. Filled with emotion, the Captain joins his children, singing for the first time in years.

Afterwards, he apologizes to Maria and asks her to stay. Impressed by the children's singing, Max proposes he enter them in the upcoming but the suggestion is immediately rejected by the Captain as he is opposed to his children singing in public. He does agree, however, to organize a grand party at the villa. The night of the party, while guests in formal attire in the ballroom, Maria and the children look on from the garden terrace. When the Captain notices Maria teaching Kurt the traditional folk dance, he cuts in and dances with Maria in a graceful performance, culminating in a close embrace.

Confused about her feelings, Maria blushes and breaks away. Later, the Baroness, who noticed the Captain's attraction to Maria, hides her jealousy while convincing Maria that she must return to the abbey.

Back at the abbey, when Mother Abbess learns that Maria has stayed in seclusion to avoid her feelings for the Captain, she encourages her to return to the villa to look for her life. After Maria returns to the villa, she learns about the Captain's engagement to the Baroness and agrees to stay until they find a replacement governess. The Captain's feelings for Maria, however, have not changed, and after breaking off his engagement the Captain marries Maria. While the Captain and Maria are on their honeymoon, Max enters the children in the Salzburg Festival against their father's wishes. When they learn that Austria has been annexed by the in the, the couple return to their home, where a telegram awaits informing the Captain that he must report to the German Naval base at to accept a commission in the. Strongly opposed to the Nazis and the Anschluss, the Captain tells his family they must leave Austria immediately.

Many of the Von Trapp's friends are prepared to accept the new regime, including Rolfe, who Liesl is devastated to see has joined the. That night, as the von Trapp family attempt to leave, they are stopped by a group of waiting outside the villa. When questioned by Hans Zeller, the Captain maintains they are headed to the Salzburg Festival to perform. Zeller insists on escorting them to the festival, after which his men will accompany the Captain to Bremerhaven. Later that night at the festival, during their final number, the von Trapp family slip away and seek shelter at the nearby abbey, where Mother Abbess hides them in the cemetery crypt. Brownshirts soon arrive and search the abbey, and the family is discovered by Rolfe. Upon seeing Liesl, he hesitates raising the alarm long enough to allow the family time to flee, and the family is able to escape using the caretaker's car.

When the soldiers attempt to pursue, they discover their cars will not start as two nuns have removed parts of the engines. The next morning, after driving to the Swiss border, the von Trapp family make their way on foot across the frontier into Switzerland to safety and freedom. as. as. as Captain von Trapp's singing voice. as Baroness Elsa von Schraeder. as Max Detweiler.

as the. as Liesl von Trapp. as Friedrich von Trapp. as Louisa von Trapp. as Kurt von Trapp. as Brigitta von Trapp.

as Marta von Trapp. as Gretl von Trapp. as Sister Margaretta. as Sister Berthe.

as Herr Zeller. as Rolfe. as Frau Schmidt. Gil Stuart as Franz. as Sister Sophia. Ada Beth Lee as Sister Catherine (uncredited). Doreen Tryden as Sister Agatha (uncredited).

as Sister Bernice. as Baroness Ebberfeld Background. Composer and lyricist The Sound of Music story is based on Maria von Trapp's memoir, The Story of the Trapp Family Singers, to help promote her family's singing group following the death of her husband in 1947. Hollywood producers expressed interest in purchasing the title only, but Maria refused, wanting her entire story to be told.

In 1956, German producer purchased the film rights for $9,000 (equivalent to $81,000 in 2017), hired and to write the screenplay, and to supervise the soundtrack, which consisted of traditional. Was released in on October 9, 1956 and became a major success. Two years later, Liebeneiner directed a, and the two pictures became the most successful films in West Germany during the post-war years. Their popularity extended throughout Europe and South America.

In 1956, purchased the United States film rights, intending to produce an English-language version with as Maria. The studio eventually dropped its option, but one of its directors, proposed the story as a stage musical for. Producers Richard Halliday and Leland Heyward secured the rights and hired playwrights Howard Lindsay and Russel Crouse, who had won the for. They approached Richard Rodgers and Oscar Hammerstein II to compose one song for the musical, but the composers felt the two styles—traditional Austrian folk songs and their composition—would not work together. They offered to write a complete new score for the entire production if the producers were willing to wait while they completed work on. The producers quickly responded that they would wait as long as necessary.

Stage musical opened on November 16, 1959 at the in New York City and ran on Broadway for 1,443 performances, winning six Tony Awards, including Best Musical. In June 1960, Twentieth Century Fox purchased the film adaptation rights to the stage musical for $1.25 million (equivalent to $10,300,000 in 2017) against ten percent of the gross. Production For the film, Richard Rodgers added two new songs, 'I Have Confidence' and 'Something Good', for which he wrote the lyrics as well as the music (Hammerstein having died in August 1960), while three of the original stage songs were omitted, 'How Can Love Survive', 'No Way To Stop It' and 'An Ordinary Couple'. Arranger and conductor prerecorded the songs with a large orchestra and singers on a stage prior to the start of filming, and later adapted instrumental underscore passages based on the songs.

Choreographers and, who had worked with Andrews on, worked out all new choreography sequences that incorporated many of the Salzburg locations and settings. The Sound of Music was filmed from March 26 through September 1, 1964, with external scenes shot on location in Salzburg, Austria, and the surrounding region, and interior scenes filmed at the studios in. The movie was photographed in 70 mm by and produced with processing and six-track sound recording. Screenplay and pre-production. Robert Wise, 1990 In December 1962, 20th Century Fox president hired Ernest Lehman to write the screenplay for the film adaptation of the stage musical.

Lehman reviewed the original script for the stage musical, rearranged the sequence of songs, and began transforming a work designed for the stage into a film that could use the camera to emphasize action and mood, and open the story up to the beautiful locations of Salzburg and the Austrian Alps. The 'Do-Re-Mi' sequence in the play, for example, was originally a stagnant number; Lehman transformed it into a lively showing some of the beautiful sites of Salzburg, as well as showing Maria and the children growing closer over time. Lehman also eliminated two songs, 'How Can Love Survive?' And ', sung by the characters of Elsa and Max.

In January 1963, he saw the Fox English-dubbed version of the two German films. Not especially impressed, he decided to use the stage musical and Maria's memoir for most of his source material. While Lehman was developing the screenplay, he and Zanuck began looking for a director. Their first choice was, with whom Lehman had worked on the film adaptation of, but Wise was busy preparing work for another film,. Other directors were approached and turned down the offer, including,. In January 1963, Lehman invited one of his favorite directors, to travel to New York City with him to see the Broadway musical. After seeing the show, Wyler said he hated it, but after two weeks of Lehman's persuasion, Wyler reluctantly agreed to direct and produce the film.

After hiring musical supervisor, Wyler, Lehman, and Edens traveled to Salzburg to scout filming locations. In two weeks they managed to see approximately seventy-five locations—an experience that helped Lehman conceptualize several important sequences. During that trip, Lehman began to have reservations about Wyler's commitment to the project, and communicated this to Zanuck, who instructed the writer to finalize the first draft of the screenplay as quickly as possible. Lehman completed the first draft on September 10, 1963 and sent it to Wyler, who had no suggestions or changes. At that time, Lehman also secretly gave a copy of the script to the agent of Robert Wise, whom Lehman still wanted as the director. Later that month, Wyler's agent approached Zanuck asking that production on the film be delayed so Wyler could direct. Zanuck told him to tell Wyler to make the other film, and that they would move ahead on schedule with another director, ending Wyler's participation.

Meanwhile, Wise, whose film The Sand Pebbles had been postponed, read Lehman's first draft, was impressed by what he read, and agreed to direct the film. Wise joined the picture in October 1963, and flew to Salzburg with associate producer and members of his production team to scout filming locations, including many that Wyler had identified. When he returned, Wise began working on the script. Wise shared Lehman's vision of the film being centered on the music, and the changes he made were consistent with the writer's approach—mainly reducing the amount of sweetness and sentimentality found in the stage musical. He had reservations about Lehman's opening aerial sequence because, whose screenplay Lehman had also written, had used a similar opening sequence, but he was unable to think of a better one and decided to keep Lehman's.

Other changes included replacing 'An Ordinary Couple' with a more romantic number, and a new song for Maria's departure from the abbey—Rodgers provided 'Something Good' and 'I Have Confidence' especially for the film. Lehman completed the second draft on December 20, 1963, but additional changes would be made based on input from Maria von Trapp and Christopher Plummer about the character of the Captain. Plummer especially helped transform a character lacking substance into a stronger, more forceful complex figure with a wry sense of humor and a darker edge. Lehman completed his final draft on March 20, 1964. Casting and rehearsals.

'No one is comfortable with an excess of hearts and flowers, but there is no valid reason for hiding honest emotion. This has always been a major element in the theatre, and it's my conviction that anyone who can't, on occasion, be sentimental about children, home or nature is sadly maladjusted.'

Richard Rodgers The film had its opening premiere on March 2, 1965 at the Rivoli Theater in New York City. Initial reviews were mixed., in, criticized the film's 'romantic nonsense and sentiment', the children's 'artificial roles', and Robert Wise's 'cosy-cum-corny' direction., in a biting review in the, dismissed the movie as 'icky sticky' and designed for 'the five to seven set and their mommies'. In her review for magazine, called the film 'the sugar-coated lie people seem to want to eat', and that audiences have 'turned into emotional and aesthetic imbeciles when we hear ourselves humming the sickly, goody-goody songs'. Wise later recalled, 'The East Coast, intellectual papers and magazines destroyed us, but the local papers and the trades gave us great reviews'. Indeed, reviewers such as Philip K. Scheuer of the described the film as 'three hours of visual and vocal brilliance', and called it 'a warmly-pulsating, captivating drama set to the most imaginative use of the lilting R-H tunes, magnificently mounted and with a brilliant cast'.

The 'wildly mixed film reviews' reflected the critical response to the stage musical, according to The Oxford Companion to the American Musical. After its Los Angeles premiere on March 10, The Sound of Music opened in 131 theaters in the United States, including a limited number of roadshow events. After four weeks, the film became the number one box office movie in the country, and held that position for thirty out of the next forty-three weeks in 1965. The original theatrical release of the film in America lasted four and a half years.

A few months after its United States release, The Sound of Music opened in 261 theaters overseas—the first American movie to be completely dubbed in a foreign language, both dialogue and music. The German, French, Italian, and Spanish versions were completely dubbed, the Japanese version had Japanese dialogue with English songs, and other versions were released with foreign subtitles. The film was a popular success in every country it opened, except the two countries where the story originated, Austria and Germany. In these countries, the film had to compete with the much-loved Die Trapp-Familie (1956), which provided the original inspiration for the Broadway musical, and its sequel Die Trapp-Familie in Amerika (1958)—both films still widely popular in German-speaking Europe and considered the authoritative von Trapp story.

Austrians took exception to the liberties taken by the filmmakers with regard to the costumes, which did not reflect traditional style, and the replacement of traditional Austrian folk songs with Broadway show tunes. The film's Nazi theme was especially unpopular in Germany, where the Munich branch manager for 20th Century Fox approved the unauthorized cutting of the entire third act of the film following the wedding sequence—the scenes showing Salzburg following the Anschluss. Robert Wise and the studio intervened, the original film was restored, and the branch manager was fired. Box office The Sound of Music is one of the most commercially successful films of all time. Four weeks after its theatrical release, it became the number one box office movie in the United States, from revenue generated by twenty-five theaters, each screening only ten roadshow performances per week. It held the number one position for thirty of the next forty-three weeks, and ended up the highest-grossing film of 1965.

One contributing factor in the film's early commercial success was the repeat business of many filmgoers. In some cities in the United States, the number of tickets sold exceeded the total population.

By January 1966, the film had earned $20 million in from just 140 roadshow engagements in the United States and Canada. Overseas, The Sound of Music broke previous box-office records in twenty-nine countries, including the United Kingdom, where the film earned £4 million in rentals and grossed £6 million—more than twice as much as any other film had ever taken in. It was also a major success in Holland, Hong Kong and Tokyo, where it played for as long as two years at some theaters. It was not a universal success, however, with the film only enjoying modest success in France and it was a flop in Germany. It also initially performed poorly in Italy, but a re-release after the Oscars brought better results. By November 1966, The Sound of Music had become the of all-time, surpassing, which held that distinction for twenty-four years. In November 1969, The Sound of Music completed its initial four-and-a-half year theatrical release run in the United States, having earned $68,313,000 in North American (United States and Canada) rentals and $44,168,000 in foreign rentals, for a worldwide total of $112,481,000 in gross returns.

It was the first film to gross over $100 million. The film was re-released in 1973, and increased its North American rentals to $78.4 million. By the end of the 1970s, it was ranked seventh in all time North American rentals, having earned $79 million. The film's re-release in 1990 increased the total North American admissions to 142,415,400—the third highest number of tickets sold behind Gone with the Wind and Star Wars—and about 283.3 million admissions worldwide. The Sound of Music eventually earned a total domestic gross of $163,214,076, and a total worldwide gross of $286,214,076.

Adjusted for inflation, the film earned about $2.366 billion at 2014 prices—the fifth highest-grossing film of all time. Historical accuracy. Main article: The soundtrack to The Sound of Music was written by and, and arranged and conducted by, who also adapted the instrumental underscore passages. The soundtrack album was released by in 1965 and is one of the most successful soundtrack albums in history, having sold over 20 million copies worldwide.

The album reached the number one position on the that year in the United States. It remained in the top ten for 109 weeks, from May 1, 1965 to July 16, 1966, and remained on the Billboard 200 chart for 238 weeks. The album was the best-selling album in the United Kingdom in 1965, 1966 and 1968 and the second best-selling of the entire decade, spending a total of 70 weeks at number one on the. It also stayed 73 weeks on the Norwegian charts, becoming the seventh best-charting album of all time in that country.

In 2015, named the album the second greatest album of all time. The album has been reissued several times, including anniversary editions with additional tracks in 1995, 2000, 2005, 2010 and 2015. Twentieth Century Fox also purchased the rights to the two German films for distribution in the United States. Fox combined the two films, Die Trapp-Familie and Die Trapp-Familie in Amerika, dubbed them in English, and released them as a single 106-minute film titled The Trapp Family, which was released on April 19, 1961.

Maria's morning run back to Nonnberg Abbey would have been about 11 miles (18 km). At the conclusion of filming at Schloss Leopoldskron, 20th Century Fox left behind the original gazebo as a gift to the city. The film's later popularity, however, led many fans to trespass onto the private and secluded lakefront property. To provide fans easier access to the famous structure, the city moved it to its present location at Park.

Terpning also created the poster artwork for Lawrence of Arabia, Doctor Zhivago, The Sand Pebbles, The Guns of Navarone, and the 1967 theatrical re-release of Gone with the Wind. He is also known for his numerous magazine covers and his paintings of the American West and the Plains Indians. Pauline Kael's review for McCall's generated a significant negative response from readers and contributed to her dismissal from the magazine. In Salt Lake City, Utah (population 199,300), for example, 309,000 tickets were sold in forty weeks. In Albany, New York (population 156,000), 176,536 tickets were sold in twenty-seven weeks.

In Orlando, Florida (population 88,135), 105,181 tickets were sold in thirty-five weeks. The Sound of Music remained the highest-grossing film of all time for five years until 1971, when Gone with the Wind recaptured the crown following its successful 1967 widescreen rerelease. References. Turner Classic Movies. From the original on February 10, 2015.

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Music Soundtrack Louis Armstrong

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Running time 174 minutes Country United States Language English Budget $8.2 million Box office $286.2 million The Sound of Music is a 1965 American produced and directed by, and starring and, with. The film is an adaptation of the 1959 of, composed by with lyrics. The film's screenplay was written by, adapted from the stage musical's.

Based on the memoir by, the film is about a young Austrian woman studying to become a nun in, in 1938 who is sent to the villa of a retired naval officer and widower to be governess to his seven children. After bringing and teaching love and music into the lives of the family through kindness and patience, she marries the officer and together with the children they find a way to survive the loss of their homeland through courage and faith. The film was released on March 2, 1965 in the United States, initially as a limited. Although critical response to the film was widely mixed, the film was a major commercial success, becoming the number one box office movie after four weeks,.

By November 1966, The Sound of Music had become the of all-time—surpassing —and held that distinction for five years. The film was just as popular throughout the world, breaking previous box-office records in twenty-nine countries. Following an initial theatrical release that lasted four and a half years, and two successful re-releases, the film sold 283 million admissions worldwide and earned a total worldwide gross of $286,000,000. The Sound of Music received five, including. The film also received two, for and, the Directors Guild of America Award for, and the for Best Written American Musical. In 1998, the (AFI) listed The Sound of Music as the greatest American movie of all time, and the greatest movie musical. In 2001, the United States selected the film for preservation in the, finding it 'culturally, historically, or aesthetically significant'.

Contents. Plot In 1938, Maria is a free-spirited young Austrian woman studying to become a nun at in.

Her love of music and the mountains, her youthful enthusiasm and imagination, and her lack of discipline cause some concern among the nuns. The Mother Abbess, believing Maria would be happier outside the abbey, sends her to the villa of retired naval officer Captain Georg von Trapp to be governess to his seven children—Liesl, Friedrich, Louisa, Kurt, Brigitta, Marta, and Gretl. The Captain has been raising his children using strict military discipline following the death of his wife. Although the children misbehave at first, Maria responds with kindness and patience, and soon the children come to trust and respect her. Liesl, the oldest, is won over after Maria protects her from discovery when she is nearly caught sneaking back into the house after meeting with Rolfe, a messenger boy she is in love with. While the Captain is away in Vienna, Maria makes play clothes for the children and takes them around Salzburg and the surrounding mountains, and teaches them how to sing. When the Captain returns to the villa with Baroness Elsa Schraeder, a wealthy socialite, and their mutual friend, Max Detweiler, they are greeted by Maria and the children returning from a boat ride on the lake that concludes when their boat overturns.

Displeased by his children's clothes and activities, and Maria's impassioned appeal that he get closer to his children, the Captain orders her to return to the abbey. Just then he hears singing coming from inside the house and is astonished to see his children singing for the Baroness. Filled with emotion, the Captain joins his children, singing for the first time in years. Afterwards, he apologizes to Maria and asks her to stay. Impressed by the children's singing, Max proposes he enter them in the upcoming but the suggestion is immediately rejected by the Captain as he is opposed to his children singing in public. He does agree, however, to organize a grand party at the villa. The night of the party, while guests in formal attire in the ballroom, Maria and the children look on from the garden terrace.

When the Captain notices Maria teaching Kurt the traditional folk dance, he cuts in and dances with Maria in a graceful performance, culminating in a close embrace. Confused about her feelings, Maria blushes and breaks away. Later, the Baroness, who noticed the Captain's attraction to Maria, hides her jealousy while convincing Maria that she must return to the abbey.

Back at the abbey, when Mother Abbess learns that Maria has stayed in seclusion to avoid her feelings for the Captain, she encourages her to return to the villa to look for her life. After Maria returns to the villa, she learns about the Captain's engagement to the Baroness and agrees to stay until they find a replacement governess. The Captain's feelings for Maria, however, have not changed, and after breaking off his engagement the Captain marries Maria. While the Captain and Maria are on their honeymoon, Max enters the children in the Salzburg Festival against their father's wishes.

When they learn that Austria has been annexed by the in the, the couple return to their home, where a telegram awaits informing the Captain that he must report to the German Naval base at to accept a commission in the. Strongly opposed to the Nazis and the Anschluss, the Captain tells his family they must leave Austria immediately. Many of the Von Trapp's friends are prepared to accept the new regime, including Rolfe, who Liesl is devastated to see has joined the. That night, as the von Trapp family attempt to leave, they are stopped by a group of waiting outside the villa. When questioned by Hans Zeller, the Captain maintains they are headed to the Salzburg Festival to perform. Zeller insists on escorting them to the festival, after which his men will accompany the Captain to Bremerhaven.

Later that night at the festival, during their final number, the von Trapp family slip away and seek shelter at the nearby abbey, where Mother Abbess hides them in the cemetery crypt. Brownshirts soon arrive and search the abbey, and the family is discovered by Rolfe. Upon seeing Liesl, he hesitates raising the alarm long enough to allow the family time to flee, and the family is able to escape using the caretaker's car. When the soldiers attempt to pursue, they discover their cars will not start as two nuns have removed parts of the engines. The next morning, after driving to the Swiss border, the von Trapp family make their way on foot across the frontier into Switzerland to safety and freedom. as.

as. as Captain von Trapp's singing voice. as Baroness Elsa von Schraeder.

as Max Detweiler. as the. as Liesl von Trapp. as Friedrich von Trapp.

as Louisa von Trapp. as Kurt von Trapp. as Brigitta von Trapp.

as Marta von Trapp. as Gretl von Trapp. as Sister Margaretta. as Sister Berthe. as Herr Zeller. as Rolfe. as Frau Schmidt.

Gil Stuart as Franz. as Sister Sophia. Ada Beth Lee as Sister Catherine (uncredited). Doreen Tryden as Sister Agatha (uncredited). as Sister Bernice.

as Baroness Ebberfeld Background. Composer and lyricist The Sound of Music story is based on Maria von Trapp's memoir, The Story of the Trapp Family Singers, to help promote her family's singing group following the death of her husband in 1947.

Hollywood producers expressed interest in purchasing the title only, but Maria refused, wanting her entire story to be told. In 1956, German producer purchased the film rights for $9,000 (equivalent to $81,000 in 2017), hired and to write the screenplay, and to supervise the soundtrack, which consisted of traditional. Was released in on October 9, 1956 and became a major success. Two years later, Liebeneiner directed a, and the two pictures became the most successful films in West Germany during the post-war years. Their popularity extended throughout Europe and South America. In 1956, purchased the United States film rights, intending to produce an English-language version with as Maria.

The studio eventually dropped its option, but one of its directors, proposed the story as a stage musical for. Producers Richard Halliday and Leland Heyward secured the rights and hired playwrights Howard Lindsay and Russel Crouse, who had won the for. They approached Richard Rodgers and Oscar Hammerstein II to compose one song for the musical, but the composers felt the two styles—traditional Austrian folk songs and their composition—would not work together. They offered to write a complete new score for the entire production if the producers were willing to wait while they completed work on. The producers quickly responded that they would wait as long as necessary.

Stage musical opened on November 16, 1959 at the in New York City and ran on Broadway for 1,443 performances, winning six Tony Awards, including Best Musical. In June 1960, Twentieth Century Fox purchased the film adaptation rights to the stage musical for $1.25 million (equivalent to $10,300,000 in 2017) against ten percent of the gross. Production For the film, Richard Rodgers added two new songs, 'I Have Confidence' and 'Something Good', for which he wrote the lyrics as well as the music (Hammerstein having died in August 1960), while three of the original stage songs were omitted, 'How Can Love Survive', 'No Way To Stop It' and 'An Ordinary Couple'. Arranger and conductor prerecorded the songs with a large orchestra and singers on a stage prior to the start of filming, and later adapted instrumental underscore passages based on the songs.

Choreographers and, who had worked with Andrews on, worked out all new choreography sequences that incorporated many of the Salzburg locations and settings. The Sound of Music was filmed from March 26 through September 1, 1964, with external scenes shot on location in Salzburg, Austria, and the surrounding region, and interior scenes filmed at the studios in. The movie was photographed in 70 mm by and produced with processing and six-track sound recording. Screenplay and pre-production. Robert Wise, 1990 In December 1962, 20th Century Fox president hired Ernest Lehman to write the screenplay for the film adaptation of the stage musical. Lehman reviewed the original script for the stage musical, rearranged the sequence of songs, and began transforming a work designed for the stage into a film that could use the camera to emphasize action and mood, and open the story up to the beautiful locations of Salzburg and the Austrian Alps. The 'Do-Re-Mi' sequence in the play, for example, was originally a stagnant number; Lehman transformed it into a lively showing some of the beautiful sites of Salzburg, as well as showing Maria and the children growing closer over time.

Lehman also eliminated two songs, 'How Can Love Survive?' And ', sung by the characters of Elsa and Max.

In January 1963, he saw the Fox English-dubbed version of the two German films. Not especially impressed, he decided to use the stage musical and Maria's memoir for most of his source material. While Lehman was developing the screenplay, he and Zanuck began looking for a director. Their first choice was, with whom Lehman had worked on the film adaptation of, but Wise was busy preparing work for another film,. Other directors were approached and turned down the offer, including,.

In January 1963, Lehman invited one of his favorite directors, to travel to New York City with him to see the Broadway musical. After seeing the show, Wyler said he hated it, but after two weeks of Lehman's persuasion, Wyler reluctantly agreed to direct and produce the film. After hiring musical supervisor, Wyler, Lehman, and Edens traveled to Salzburg to scout filming locations. In two weeks they managed to see approximately seventy-five locations—an experience that helped Lehman conceptualize several important sequences. During that trip, Lehman began to have reservations about Wyler's commitment to the project, and communicated this to Zanuck, who instructed the writer to finalize the first draft of the screenplay as quickly as possible. Lehman completed the first draft on September 10, 1963 and sent it to Wyler, who had no suggestions or changes. At that time, Lehman also secretly gave a copy of the script to the agent of Robert Wise, whom Lehman still wanted as the director.

Later that month, Wyler's agent approached Zanuck asking that production on the film be delayed so Wyler could direct. Zanuck told him to tell Wyler to make the other film, and that they would move ahead on schedule with another director, ending Wyler's participation. Meanwhile, Wise, whose film The Sand Pebbles had been postponed, read Lehman's first draft, was impressed by what he read, and agreed to direct the film. Wise joined the picture in October 1963, and flew to Salzburg with associate producer and members of his production team to scout filming locations, including many that Wyler had identified. When he returned, Wise began working on the script. Wise shared Lehman's vision of the film being centered on the music, and the changes he made were consistent with the writer's approach—mainly reducing the amount of sweetness and sentimentality found in the stage musical.

He had reservations about Lehman's opening aerial sequence because, whose screenplay Lehman had also written, had used a similar opening sequence, but he was unable to think of a better one and decided to keep Lehman's. Other changes included replacing 'An Ordinary Couple' with a more romantic number, and a new song for Maria's departure from the abbey—Rodgers provided 'Something Good' and 'I Have Confidence' especially for the film. Lehman completed the second draft on December 20, 1963, but additional changes would be made based on input from Maria von Trapp and Christopher Plummer about the character of the Captain. Plummer especially helped transform a character lacking substance into a stronger, more forceful complex figure with a wry sense of humor and a darker edge. Lehman completed his final draft on March 20, 1964. Casting and rehearsals. 'No one is comfortable with an excess of hearts and flowers, but there is no valid reason for hiding honest emotion.

This has always been a major element in the theatre, and it's my conviction that anyone who can't, on occasion, be sentimental about children, home or nature is sadly maladjusted.' Richard Rodgers The film had its opening premiere on March 2, 1965 at the Rivoli Theater in New York City.

Initial reviews were mixed., in, criticized the film's 'romantic nonsense and sentiment', the children's 'artificial roles', and Robert Wise's 'cosy-cum-corny' direction., in a biting review in the, dismissed the movie as 'icky sticky' and designed for 'the five to seven set and their mommies'. In her review for magazine, called the film 'the sugar-coated lie people seem to want to eat', and that audiences have 'turned into emotional and aesthetic imbeciles when we hear ourselves humming the sickly, goody-goody songs'. Wise later recalled, 'The East Coast, intellectual papers and magazines destroyed us, but the local papers and the trades gave us great reviews'.

Indeed, reviewers such as Philip K. Scheuer of the described the film as 'three hours of visual and vocal brilliance', and called it 'a warmly-pulsating, captivating drama set to the most imaginative use of the lilting R-H tunes, magnificently mounted and with a brilliant cast'. The 'wildly mixed film reviews' reflected the critical response to the stage musical, according to The Oxford Companion to the American Musical. After its Los Angeles premiere on March 10, The Sound of Music opened in 131 theaters in the United States, including a limited number of roadshow events. After four weeks, the film became the number one box office movie in the country, and held that position for thirty out of the next forty-three weeks in 1965. The original theatrical release of the film in America lasted four and a half years.

A few months after its United States release, The Sound of Music opened in 261 theaters overseas—the first American movie to be completely dubbed in a foreign language, both dialogue and music. The German, French, Italian, and Spanish versions were completely dubbed, the Japanese version had Japanese dialogue with English songs, and other versions were released with foreign subtitles. The film was a popular success in every country it opened, except the two countries where the story originated, Austria and Germany.

In these countries, the film had to compete with the much-loved Die Trapp-Familie (1956), which provided the original inspiration for the Broadway musical, and its sequel Die Trapp-Familie in Amerika (1958)—both films still widely popular in German-speaking Europe and considered the authoritative von Trapp story. Austrians took exception to the liberties taken by the filmmakers with regard to the costumes, which did not reflect traditional style, and the replacement of traditional Austrian folk songs with Broadway show tunes. The film's Nazi theme was especially unpopular in Germany, where the Munich branch manager for 20th Century Fox approved the unauthorized cutting of the entire third act of the film following the wedding sequence—the scenes showing Salzburg following the Anschluss. Robert Wise and the studio intervened, the original film was restored, and the branch manager was fired. Box office The Sound of Music is one of the most commercially successful films of all time. Four weeks after its theatrical release, it became the number one box office movie in the United States, from revenue generated by twenty-five theaters, each screening only ten roadshow performances per week. It held the number one position for thirty of the next forty-three weeks, and ended up the highest-grossing film of 1965.

One contributing factor in the film's early commercial success was the repeat business of many filmgoers. In some cities in the United States, the number of tickets sold exceeded the total population. By January 1966, the film had earned $20 million in from just 140 roadshow engagements in the United States and Canada.

Overseas, The Sound of Music broke previous box-office records in twenty-nine countries, including the United Kingdom, where the film earned £4 million in rentals and grossed £6 million—more than twice as much as any other film had ever taken in. It was also a major success in Holland, Hong Kong and Tokyo, where it played for as long as two years at some theaters. It was not a universal success, however, with the film only enjoying modest success in France and it was a flop in Germany. It also initially performed poorly in Italy, but a re-release after the Oscars brought better results. By November 1966, The Sound of Music had become the of all-time, surpassing, which held that distinction for twenty-four years. In November 1969, The Sound of Music completed its initial four-and-a-half year theatrical release run in the United States, having earned $68,313,000 in North American (United States and Canada) rentals and $44,168,000 in foreign rentals, for a worldwide total of $112,481,000 in gross returns. It was the first film to gross over $100 million.

The film was re-released in 1973, and increased its North American rentals to $78.4 million. By the end of the 1970s, it was ranked seventh in all time North American rentals, having earned $79 million. The film's re-release in 1990 increased the total North American admissions to 142,415,400—the third highest number of tickets sold behind Gone with the Wind and Star Wars—and about 283.3 million admissions worldwide.

The Sound of Music eventually earned a total domestic gross of $163,214,076, and a total worldwide gross of $286,214,076. Adjusted for inflation, the film earned about $2.366 billion at 2014 prices—the fifth highest-grossing film of all time. Historical accuracy.

Main article: The soundtrack to The Sound of Music was written by and, and arranged and conducted by, who also adapted the instrumental underscore passages. The soundtrack album was released by in 1965 and is one of the most successful soundtrack albums in history, having sold over 20 million copies worldwide. The album reached the number one position on the that year in the United States. It remained in the top ten for 109 weeks, from May 1, 1965 to July 16, 1966, and remained on the Billboard 200 chart for 238 weeks. The album was the best-selling album in the United Kingdom in 1965, 1966 and 1968 and the second best-selling of the entire decade, spending a total of 70 weeks at number one on the. It also stayed 73 weeks on the Norwegian charts, becoming the seventh best-charting album of all time in that country.

In 2015, named the album the second greatest album of all time. The album has been reissued several times, including anniversary editions with additional tracks in 1995, 2000, 2005, 2010 and 2015.

Twentieth Century Fox also purchased the rights to the two German films for distribution in the United States. Fox combined the two films, Die Trapp-Familie and Die Trapp-Familie in Amerika, dubbed them in English, and released them as a single 106-minute film titled The Trapp Family, which was released on April 19, 1961. Maria's morning run back to Nonnberg Abbey would have been about 11 miles (18 km). At the conclusion of filming at Schloss Leopoldskron, 20th Century Fox left behind the original gazebo as a gift to the city. The film's later popularity, however, led many fans to trespass onto the private and secluded lakefront property. To provide fans easier access to the famous structure, the city moved it to its present location at Park. Terpning also created the poster artwork for Lawrence of Arabia, Doctor Zhivago, The Sand Pebbles, The Guns of Navarone, and the 1967 theatrical re-release of Gone with the Wind.

He is also known for his numerous magazine covers and his paintings of the American West and the Plains Indians. Pauline Kael's review for McCall's generated a significant negative response from readers and contributed to her dismissal from the magazine. In Salt Lake City, Utah (population 199,300), for example, 309,000 tickets were sold in forty weeks. In Albany, New York (population 156,000), 176,536 tickets were sold in twenty-seven weeks. In Orlando, Florida (population 88,135), 105,181 tickets were sold in thirty-five weeks.

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