Plot St. Louis 1903. The well-off Smith family has four beautiful daughters, including Esther and little Tootie. 17-year old Esther has fallen in love with the boy next door who has just moved in, John. He however, barely notices her at first. The family is shocked when Mr. Smith reveals that he has been transfered to a nice position in New York, which means that the family has to leave St. Louis and the St. Louis Fair
Trivia
Producer-lyricist Arthur Freed dubbed the singing for Leon Ames.
Van Johnson was supposed to play John Truett, but Tom Drake took over.
First intended as a duet for Alfred Drake and Joan Roberts in the Broadway production of "Oklahoma!", the Rodgers & Hammerstein song "Boys and Girls Like You and Me" had been discarded from that 1943 Broadway triumph. MGM producer Arthur Freed then purchased screen rights to the song, planning to interpolate it into the film score as a Judy Garland solo, but her rendition was cut from the picture. Miss Garland's Decca album of songs from the film included the song in an arrangement similar to her MGM prerecording. Later, the ballad was chosen to be crooned by Frank Sinatra to Betty Garrett in another Arthur Freed production, Take Me Out to the Ball Game (1949), but again the tune was deleted. The footage of Judy singing the song to Tom Drake no longer exists, but on the Warner Home Video special-edition DVD, the original audio recording is played over Garland-Drake production stills. Only about two or three seconds of footage from this sequence may be seen on the trailer in which Tom Drake's name is screened. It shows a medium shot of Tom Drake, and in the background, you can see some buildings supposedly under construction as they would appear in the blue hour before nightfall. Actually, it was just a backdrop for the scene that was filmed on a sound stage.
Vincente Minnelli and Judy Garland met on this movie, and married soon afterwards.
Director Vincente Minnelli worked hard to make the movie as accurate to the times as possible. Not only did its novelist, Sally Benson, give explicit directions as to the decor of her home down to the last detail, but the movie's costume designer took inspiration for many of the movies costumes right out of the Sears & Roebuck catalog from the time period.
Judy Garland recorded "The Trolley Song" in a single take.
The movie was based on the real-life experiences of novelist Sally Benson. The character of Tootie was based on her own childhood; she was called Tootie as a little girl.
"The Trolley Song" was inspired by a children's picture book. The book had a page with a picture of a trolleycar, captioned "Clang! Clang! Clang! went the jolly little trolley."
The book on which the film is based originally ran as a weekly feature in the New Yorker Magazine in 1942. For the film many of the actions attributed to Tootie were actually done in real life by Sally Benson's sister Agnes. Also in reality, Benson's father moved the family to NYC and they never did come back for the World's Fair.
The success of the film had encouraged MGM to create further movies involving the Smith family and was to be based on further tales of Sally Benson's family. MGM wanted to make sort of a deluxe color group of serials in the spirit of the popular "Andy Hardy" series. A proposed sequel titled "Meet Me in Manhattan" was in the works in which the Smith family actually moved to New York. (This happened in real life to Sally Benson's family.) However, the project never got out of planning stages and the film was never made.
Judy Garland scoffed at the idea of portraying yet another teenager (she was 21 when filming began) and wanted nothing to do with the film. Her mother even went to MGM chief Louis B. Mayer on her behalf. However, Vincente Minnelli convinced her to play the part of Esther Smith, and Judy later fell in love with the story. In her later years she considered it one of her favorite roles.
"The Trolley Song" was ranked #26 and "Have Yourself a Merry Little Christmas" was ranked #72 by the American Film Institute in 2004 on the 100 Greatest Songs in American Films list.
In "Have Yourself a Merry Little Christmas", Judy Garland refused to sing the grim original line, "Have yourself a merry little Christmas, it may be your last" to little Margaret O'Brien. The version she sang is the one everyone knows today.
Judy Garland missed 13 days of work causing the production taking 70 days to complete from the original budgeted 58 days.
Margaret O'Brien's mother wanted more money for her to play "Tootie" in the film. The studio then cast the young daughter of a lighting man working on the film, going so far as to even fit her with costumes. They then changed their minds and decided to go ahead and cast Margaret O'Brien. O'Brien was playing a scene when that lighting man intentionally dropped a heavy spotlight to the sound stage, narrowly missing the young actress. He was taken away and actually admitted to a mental institution for a time for his deed.
The Halloween sequence on the street outside of the Smith home was primarily filmed from low angles, so that the movie audience would experience the Halloween night as though they were seeing it through the eyes of a child. When Tootie (Margaret O'Brien) embarks on her adventure to the Braukoff home, the houses appear to be large and looming.
The street on which the Smith home stood was built specifically for "Meet Me in St. Louis." Located on MGM's vast Backlot #3 that was at Jefferson and Overland Boulevards in Culver City,it was known at the studio as "St. Louis Street" and all of the houses that were on it were used in various film and television shows throughout the next 27 years, until Lot 3 was demolished to make way for an apartment and condominium project. Even in 1970, the last year of Lot 3's existence, the Smith home still looked like it did in 1944, minus the set dressings, of course.
Hugh Martin of Martin and Blaine - composers of the film's original songs, did not enjoy his MGM experience. Although Martin greatly admired Garland and the talent of those he was working with, he did not appreciate Producer Arthur Freed's volatile temperament, or the one-upsmanship and self important attitudes shared by the MGM hierarchy. He has said that he found all that showing off and competing for attention "depressing". A devout Christian, in later years he adapted “Have yourself a Merry Little Christmas” into “Have yourself a "Blessed" Little Christmas” for a popular Gospel singer.
After Tootie crashes Lon's going-away party, Esther asks her if she would like to recite "Did You Ever See a Rabbit Climb a Tree?" for the company. This is a nonsense poem by L. Frank Baum, author of the book "The Wizard of Oz" (from "Father Goose: His Book", 1899).
This film was a box-office smash, grossing more money than any prior MGM release in 20 years -- with the exception of David O. Selznick's Gone with the Wind (1939).
The Broadway stage version of "Meet Me In St. Louis" opened at the George Gershwin Theater on November 2, 1989, ran for 252 performances and for nominated for the 1990 Tony Awards for Best Musical, Book and Score.
Goofs
* Continuity: In an early scene you can see feathers and down floating all over the set, left over from the upcoming winter scenes.
* Continuity: Just before "Boy Next Door," Esther keeps shifting positions when sitting on her front porch with Rose Smith.
Anachronisms: The family sings "Meet Me In St.Louis" in 1903, but it wasn't published until 1904
Revealing mistakes: There are no footprints in the snow in the winter scene, and there is not enough snow to have allowed the children to have made snowmen without leaving any trace of the snow being rolled into place.
Incorrectly regarded as goofs: It is often incorrectly claimed that an off screen male voice calls out "Hiya, Judy" (referring to actress 'Judy Garland', not her character, Esther). The voice actually says "Hiya, Johnny". This refers to Tom Drake's character, John Truett, who has been trying to catch the trolley and apparently just made it. As soon as the line is delivered Esther looks expectantly screen right but we do not see John until the end of the trolley song sequence.
Continuity: The piece of cake that Mr. Smith eats for Halloween dessert starts out flat and later grows into a wedge.
Continuity: As Esther comes down the stairs to the party in the parlor (with John Truett as one of the guests), she passes by the grandfather clock on the landing. In the shot just before coming to the landing, the pendulum is swinging. In the next shot, Esther is on the landing, and the pendulum is stopped.
Continuity: When Esther and Tootie perform "Under the Bamboo Tree", Tootie's bedroom slippers are pink at the beginning of the number...but change to blue in the "cake walk" finale.
Continuity: When the cake is first cut, it is two layers. When they return and start eating around the piano, one of the pieces is three layers.
Continuity: After Esther sits down during the corset scene, Rose's position changes from standing next to Esther's chair in one shot to kneeling on the chair in the next.
Factual errors: During the Trolley Song the location of the Fair was mentioned as at Huntington Park. The actual location of the Worlds Fair was Forest Park.
Continuity: The amount of tears on Tootie's face changes as she listens to Esther singing "Have Yourself a Merry Little Christmas".
Errors in geography: Various scenes include views of mountains. However, St. Louis does not have any mountain ranges.
Anachronisms: Although set at the turn of the century, and with very authentic sets and costumes, all of the women inexplicably have mid-'40s hairstyles.
Continuity: When Esther and John are looking out over the fair at the end, John remarks that he liked it better when it was a swamp and it was just the two of them. They didn't actually meet until the night before the trolley trip to see the fairgrounds, already in progress.
Continuity: In the supper scene when they are trying to rush the meal so that Rose can take her long distance call in private, Katie the maid serves Mr. Smith his soup. The bowl looks completely empty through the whole scene until Katie comes to pick up the bowl. At that point, it is full of brightly-colored soup.
Quotes
Katie the Maid: Would it start a minor revolution in this household if dinner was served an hour early today? Mrs. Anna Smith: Mr. Smith hates to eat early on a hot day. Katie the Maid: Eating early on a hot day gives you more time to digest your food before retiring. Besides, I'm due at my sister's at seven o'clock on a family matter. Mrs. Anna Smith: Is there something wrong with your sister? Katie the Maid: She's having trouble with her husband. Him bein' a man. Mrs. Anna Smith: Well, eating early is all right with me, but you'll have to explain it to Mr. Smith. Katie the Maid: Oh, he won't mind, seein' as how tonight's corn beef night.
Rose Smith: Oh, Es, isn't he simply enchanting? And so mature! Esther Smith: Well, how did it happen? Where did you meet? Rose Smith: I was coming out of the shop and he was coming in. We bumped into each other! Esther Smith: Accidentally? Rose Smith: Almost!
To ensure a full profitable season, circus manager Brad Braden engages The Great Sebastian, though this moves his girlfriend Holly from her hard-won center trapeze spot. Holly and Sebastian begin a dangerous one-upmanship duel in the ring, while he pursues her on the ground. Subplots involve the secret past of Buttons the Clown and the efforts of racketeers to move in on the game concessions.
Trivia
* Cecil B. DeMille was always demanding of his actors and actresses. He insisted that everyone truly learn to perform the circus stunts they were supposed to be performing. This meant that Betty Hutton really learned the trapeze and Gloria Grahame had to let an elephant rest its foot an inch from her face. Cornel Wilde probably had it the worst since he was portraying a high-wire artist. He was seriously afraid of heights in real life.
* Lucille Ball was Cecil B. DeMille's first choice for "Angel", but she became pregnant and was replaced by Gloria Grahame. Paulette Goddard also campaigned strongly for the role but was turned down owing to her reluctance to perform stunt scenes.
* Cameo: [Bob Hope] Circus spectator
* Cameo: [Diana Lynn] Circus spectator
* Cameo: [Bing Crosby] Circus spectator
* Cameo: [Merrill Reese] Circus spectator (Best known as the radio broadcaster for the Philadelphia Eagles from 1977-present, Reese was an unknown nine year old who happened to be at one of the filmed performances.)
* Special effects produced a green halo around Gloria Grahame and Betty Hutton in the Grand Parade scene, so a shot was added of green floodlights turning on above them.
* Rights to use of the title motto and the Ringling Bros.-Barnum & Bailey's facilities and performances were purchased for $250,000. DeMille advised the writers to view the German film Varieté (1925) as a model for the type of story he wanted. DeMille toured the Midwest for two months with the circus, collecting anecdotes, slang, and behind-the-scenes ideas. Publicity resulting from his involvement drew sell-out crowds to the performances.
* Charlton Heston was driving through Paramount Studios when he spotted Cecil B. DeMille, who he had never met. Heston waved. DeMille was so impressed by Heston's wave he made inquires that ultimately led to Heston being cast as Brad in this film. This was only Heston's third film and skyrocketed him to fame. One fan wrote a letter to DeMille on how much she enjoyed the movie and commented, "And I'm surprised how well the circus manager (Heston) worked with the real actors." Heston thought it was one of the best reviews he ever received.
* The first movie that Steven Spielberg ever saw. His father took him to the theater, promising him a trip to the circus. He was four years old at the time.
* Scenes of this motion picture were filmed at the actual winter quarters of the Ringling Bros.-Barnum & Bailey Circus in Sarasota, Florida. Additional scenes were also filmed at an actual circus performance in which the film's actors participated in the Grand Hippodrome Parade with the regular circus performers. If you look very closely at the bottom left-hand portion of the screen during a brief long-shot of the Grand Parade, you can see Mr. Demille's camera unit in a corner of the Hippodrome where the parade takes a turn around the ring, along with Mr. DeMille himself standing next to the camera.
* Cameo: [Mona Freeman] Circus spectator
* While filming this movie, Cecil B. DeMille presented Betty Hutton with the Photoplay Award for favorite actress of 1950 for Annie Get Your Gun (1950). The presentation was filmed and shown on a newsreel.
* During one scene Sebastian (Cornel Wilde) is hanging from the trapeze by his knees. He catches Holly (Betty Hutton) then pulls her up and kisses her. This shot took several takes and during one of the early takes Wilde tore the ligaments in his shoulder. He managed to make it through two more takes, then had to stop. He was unable to use his arm for several days so De Mille shot scenes where he was not needed.
* The voice of the barker is Edmond O'Brien.
* Actor William Boyd, who had become enormously popular playing the character Hopalong Cassidy in a series of films and on television, contributed his cameo in this film -- as himself -- as a favor to director Cecil B. DeMille in repayment for DeMille's having cast him in the showcase role of Simon of Cyrene during DeMille's production of The King of Kings (1927) nearly a quarter of a century earlier. The Simon of Cyrene role in the earlier DeMille production had contributed enormously to Boyd's film career.
* Although the film was shot in 35mm three-strip Technicolor, Paramount did shoot some test footage on the set using its newly developed wide-screen process Vistavision which ran 35mm film horizontally through the camera, exposing two standard frames, eight perforations wide. The footage still resides in the Paramount film library.
* This film is listed among The 100 Most Amusingly Bad Moves Ever Made in Golden Raspberry Award founder John Wilson's book THE OFFICIAL RAZZIE® MOVIE GUIDE.
* During the circus parade finale keyed to appropriate songs, Mickey Mouse and a group of other Disney characters walk around the ring to the tune of "It's A Hap-Hap-Happy Day" from the 1939 animated feature Gulliver's Travels (1939), which was released by Paramount, not Disney.
* Victor Young's big-top music brightened the last of his six consecutive scores for Cecil B. DeMille productions, which began with North West Mounted Police (1940).
* The movie is often cited as the least deserved Best Picture winner ever. It is widely believed the film only won because many members of the Academy were reluctant to vote for the anti-McCarthyite western High Noon (1952), whose screenwriter Carl Foreman had just been blacklisted from Hollywood.
* When Mary Pickford presented the film's producer Cecil B. DeMille with the Oscar for Best Picture (March 19, 1953), not only was it the first time the Academy Awards ceremonies had ever been televised, it was also Pickford's very first television appearance.
Goofs
Revealing mistakes: When Sebastian misses his mark and falls to the ground, he can be clearly seen landing on a cushioned surface.
Qoutes
Holly: [singing] When things go wrong, and life's no song, and you're flat on your back, that doesn't mean you have to lie there: be a jumping jack! Buttons: [singing] Keep on the hop, and if you flop, and everything looks black, stand on your head and holler "hi there!" Be a jumping jack! Holly: When things go up, they must come down, and also visa verse. If things look bad, don't fret and frown - they could be ten times worse! Buttons: Your train of luck, it may get stuck if something's on the track; give a good jump and you'll get by there... Holly, Buttons: Be a jumping jack!
Narrator: We bring you the circus, pied piper whose magic tunes greet children of all ages, from six to 60, into a tinsel and spun-candy world of reckless beauty and mounting laughter and whirling thrills; of rhythm, excitement and grace; of blaring and daring and dance; of high-stepping horses and high-flying stars. But behind all this, the circus is a massive machine whose very life depends on discipline and motion and speed. A mechanized army on wheels, that rolls over any obstacle in its path, that meets calamity again and again, but always comes up smiling. A place where disaster and tragedy stalk the big top, haunt the backyard, and ride the circus train. Where death is constantly watching for one frayed rope, one weak link, or one trace of fear. A fierce, primitive fighting force that smashes relentlessly forward against impossible odds. That is the circus. And this is the story of the biggest of the big tops, and of the men and women who fight to make it "The Greatest Show on Earth."
Midway barker: That's all, ladies and gentlemen, that's all. Come again to the greatest show on earth. Bring the children. Bring the old folks. You can shake the sawdust off your feet, but you can't shake it outta your heart. Come again, folks. The Greatest Show on Earth. Come again.
This is one of my favorite movies..this post is kind of long so beware!! LOL!! A clean family movie. "The Sound of Music" (Info from imdb.com)
Plot
In 1930's Austria, a young woman named Maria is failing miserably in her attempts to become a nun.When the Navy captain Georg Von Trapp writes to the convent asking for a governess that can handle his seven mischevious children,Maria is given the job.The Captain's wife is dead,and he is often away,and runs the household as strictly as he does the ships he sails on.The children are unhappy and resentful of the governesses that their father keeps hiring,and have managed to run each of them off one by one.When Maria arrives,she is initially met with the same hostility,but her kindness,understanding,and sense of fun soon draws them to her and brings some much-needed joy into all their lives--including the Captain's.Eventually he and Maria find themselves falling in love,even though Georg is already engaged to a Baroness and Maria is still a postulant.The romance makes them both start questioning the decisions they have made.Their personal conflicts soon become overshadowed,however,by world events.Austria is about to come under the control of Germany,and the Captain may soon find himself drafted into the German navy and forced to fight against his own country
Trivia
* Originally to be directed by William Wyler, who actually scouted locations and toyed with the script. He had a different film in mind; tanks crashing through walls, etc.
* Director Robert Wise considered Yul Brynner for the role of Captain Von Trapp.
* The first musical number in the film, The Sound of Music (1965), was the final sequence shot in Europe before the cast and crew returned to Los Angeles. It was filmed in late June and early July of 1964. Despite the warm and sunny appearance, Julie Andrews notes that she was freezing running up that mountain over and over again. Director Robert Wise has said that he had to climb one of the trees nearby to be able to overview the helicopter shoot without getting in the picture.
* During the filming of the opening shot of Julie Andrews taken from a helicopter, Julie Andrews relates that although she tried digging her heels into the ground and bracing herself, on every take she was knocked over by the powerful helicopter downdraft. After more than a dozen takes, she attempted to hand-signal to Robert Wise to have the helicopter make a wider pass, but the response she got was a thumbs-up - he was finally satisfied with the shot.
* "Sixteen Going On Seventeen" was shot in the gazebo, one of the last to be done. On the first take, Charmian Carr (Liesl) slipped while leaping across a bench, and fell through a pane of glass. Although she was not badly injured, her ankle was hurt and the scene was later shot with her leg wrapped and makeup covering the bandages.
* Cameo: [Maria von Trapp] The elder of the two women in Austrian peasant garb who are in the background as Maria walks through a brick archway during "I Have Confidence".
* The front and back of the Von Trapp estate were filmed at 2 different locations in Salzburg, Austria.
* The gazebo used for the "Sixteen Going on Seventeen" and "Something Good" scenes can still be visited in the Salzburg area, on "Sound of Music" tours. However, the public had to be excluded from the interior because film fans who were considerably older than "sixteen going on seventeen" were injuring themselves while trying to dance along the seats. The gazebo in Austria was only used for exterior shots. The actual dance by Charmian Carr and Daniel Truhitte was, in fact, filmed on a replica of the gazebo's interior on a sound stage at 20th Century-Fox in Los Angeles, as were the shots of Julie Andrews and Christopher Plummer.
* In the closing shot, when the family is climbing over the hills to safety, it is not really Kym Karath as Gretl on the shoulders of Captain von Trapp. In the DVD version, it is revealed that while in Austria, Kym Karath gained a lot of weight. This was one of the last shots filmed and so she was evidently a bit too heavy to be carried on Christopher Plummer's back. Plummer requested a stunt double and that is who's seen being carried on his back.
* Debbie Turner (Marta) had many loose teeth during filming. When they fell out, they were replaced with false teeth.
* Mary Martin was the wife of Richard Halliday, producer of the original Broadway show. Martin, who originated the role of Maria on Broadway, would eventually see nearly $8,000,000 from the film. In contrast, Julie Andrews earned just $225,000 for her performance.
* Two years before the musical made its Broadway debut, Paramount bought the rights to the Von Trapp Singers story, intending to cast Audrey Hepburn as Maria. When Hepburn declined, Paramount dropped plans for a film.
* The librettists, Howard Lindsay and Russel Crouse, originally intended to use songs that the real von Trapp family had sung. However, Mary Martin, who was to be in the play, asked Richard Rodgers and Oscar Hammerstein II to write a song for her character. Due to concerns that their original song would not mix well with the folk music, Rodgers and Hammerstein suggested writing a whole new score, the music we know today.
* During the scene with Maria and the Captain at the gazebo, Julie Andrews couldn't stop laughing due to a lighting device that was making, in her words, a "raspberry" every time she leaned in to kiss Plummer. After more than 20 takes, the scene was altered to silhouette the two and to hide Andrews' giggles.
* Six burly Austrians were hired to pull the heavy car by two ropes while the actors push from behind when the von Trapps are escaping their home in Salzburg.
* Sean Connery and Richard Burton were considered for the part of Captain von Trapp.
* Kim Darby was tested for the part of the eldest von Trapp daughter.
* Among kids who auditioned to play one of the Von Trapp children were Kurt Russell, Richard Dreyfuss, Veronica Cartwright, Patty Duke and the four eldest Osmond Brothers (Alan Osmond, Jay Osmond, Merrill Osmond and Wayne Osmond). Dreyfuss couldn't dance.
* Nicholas Hammond (Friedrich) has brown hair, and had to undergo several painful hair bleachings before and during filming to make his hair blond.
* Right after her talk with Maria, the Baroness is at the party talking to Max. The song the orchestra is playing is a song from the play version that was not used in the movie called "How Can Love Survive". This song was sung by the Baroness and Max.
* Kym Karath (Gretl) couldn't swim, so the original idea was to get Julie Andrews to catch her when the boat tips up and they all fall in the water. However, during the second take the boat toppled over so that Andrews fell to one side and Karath fell to the other. Heather Menzies (Louisa) had to save her instead. Andrews stated later she felt guilty about this for years.
* Kym Karath (Gretl) swallowed too much water upon falling out of the rowboat, and threw up on Heather Menzies (Louisa).
* Twentieth Century-Fox bought the film rights to the musical in 1960, along with the rights to two German films about the family. The project was jeopardized by the poor box-office showing of a compilation of the German films, as well as Fox's financial difficulties resulting from Cleopatra (1963).
* The von Trapp street address is '53'. When Maria first comes to the villa and is looking through the gate, the address sign is on the stone pillar to the left.
* Maria never uses the Captain's first name, "Georg", in the film. Instead, she calls him Captain, Sir and Darling.
*One of the actresses who tried out for the role of Liesl was Mia Farrow.
* Along with The Bible: In the Beginning... (1966), this is one of the few Twentieth Century-Fox films in which no music at all is heard when the Twentieth Century-Fox logo appears on screen.
* According to director Robert Wise the grass on the hill of the opening song was supposed to be much longer than it was. The filmmakers had made an arrangement with the farmer who owned the land to leave the grass long, but when they arrived for filming it had been cut. Wise commented that the scene turned out very well after all.
* Doris Day was apparently offered the role of Maria von Trapp, but turned it down.
* Julie Andrews nearly turned down the role of Maria Von Trapp, fearing the character was too similar to her role in Mary Poppins (1964).
* William Wyler wanted Audrey Hepburn to play Maria von Trapp.
* Voted number 18 in channel 4's (UK) "Greatest Family Films"
* When Maria is running through the courtyard to the Von Trapp house in "I Have Confidence", she trips. This was an accident; however, director Robert Wise liked this so much that he kept it in the movie. He felt it added to the nervousness of the song and of the character.
*The actors had to be continually hosed down while filming the scene after they had fallen out of the boat, in order to remain dripping wet.
* When the film was released in South Korea, it did so much business that some theaters were showing it four and five times a day. One theater owner in Seoul tried to figure out a way to be able to show it even more often, in order to bring in more customers. So he cut out all the musical numbers.
* The film sets its story "in the last golden days of the thirties", when in actual fact Maria became governess to the Von Trapp family in 1927 and married the Captain in November of that year
*The songs "I Have Confidence" and "Something Good" were written especially for the film, by Richard Rodgers, the latter song replacing "An Ordinary Couple" from the stage version. The two numbers became so popular and so integrated into the musical, that most subsequent stage productions, including the 1998 Broadway Revival, have felt the need to add them on (and delete "An Ordinary Couple" in the process).
* Danny Lockin, the blond actor best known for his supporting role of Barnaby Tucker alongside Michael Crawford as Cornelius Hackl in Hello, Dolly! (1969), screen tested for the role of Rolfe. The test survives today, along with those of many other notable actors who were not cast in the film, including Mia Farrow. These tests can be seen in the engrossing Hollywood Screen Tests: Take 2 (1999) (TV).
* The singing of Peggy Wood (Mother Abbess) was dubbed, as she herself declared that she was too old to handle the vocals.
* Four other children were brought in to augment the singing of the seven von Trapp children - to produce a better, fuller, more polished sound. Among the four "extra singers" was the younger sister of Charmian Carr (Liesl), Darleen Carr.
* Duane Chase's (Kurt) high note in the "So Long, Farewell" number was actually sung by Darleen Carr (younger sister of Charmian Carr), as that note was beyond Chase's range.
* Although Christopher Plummer's own vocals were in fact recorded, it was subsequently decided that he should be dubbed.
* Charmian Carr sings "Sixteen Going On Seventeen". In reality she was nearly 22 at the time.
* In Spain the film is known as "Smiles and Tears". In France it is known as "The Melody of Happiness".
* When setting up for filming the Captain and Maria's wedding scene, there was nobody at the altar to wed them when they reached the top of the stairs. Someone had forgotten to summon the actor playing the bishop. According to Julie Andrews, the real bishop of Salzburg is seen in the movie.
* The gazebo changes size (becomes larger) when we go inside it. This is intentional. There was a real gazebo on the property where they filmed the scenes at the back of the house, but it was too small for the dance numbers, so they built an interior for the gazebo in Hollywood that was significantly larger.
* Came second in the UK's Ultimate Film, in which films were placed in order of how many seats they sold at cinemas
* Christopher Plummer intensely disliked working on the film. He's been known to refer to it as "The Sound of Mucus" and likened working with Julie Andrews to "being hit over the head with a big Valentine's Day card, every day." Nontheless, he and Andrews have remained close friends ever since.
*The costume that Duane Chase (Kurt) wears at the party is called a Tracht, an authentic Austrian costume. The jacket he wears is called a Loden.
*The song "Edelweiss" was written for the musical and is little known in Austria. The song was the last that Oscar Hammerstein II wrote before his passing in 1960.
*The Ländler dance that Maria and the Captain shared was not performed the traditional way it is done in Austria.
* Marni Nixon had become well known in Hollywood circles as a ghost singer for the leads in several film adaptations of hit Broadway musicals. She provided the vocals for Deborah Kerr in The King and I (1956), Natalie Wood in West Side Story (1961) and Audrey Hepburn in My Fair Lady (1964). "The Sound of Music" provided a rare onscreen performance by Marni Nixon, who plays Sister Sophia. Julie Andrews had previously appeared on Broadway in My Fair Lady (1964) but was passed over for the film. The producers were wary of how Julie Andrews would react to Nixon because she dubbed Audrey Hepburn's vocals in a role made famous by Andrews. When Andrews first met Nixon, she exclaimed, "Marni, I'm a fan of you!" and the producers were relieved.
* According to the British tabloid The Sun, the movie was selected by BBC executives as one to be broadcast after a nuclear strike, to improve the morale of survivors. The BBC did not confirm or deny the story, saying, "This is a security issue so we cannot comment".
* While the von Trapp family hiked over the Alps to Switzerland in the movie, in reality they walked to the local train station and boarded the next train to Italy. From Italy, they fled to London and ultimately the USA. Salzburg is in fact only a few miles away from the Austrian-German border, and is much too far from either the Swiss or Italian borders for a family to escape by walking. Had the von Trapps hiked over the mountains, they would have ended up in Germany, near Hitler's mountain retreat.
* The Reverend Mother's line, "I will lift mine eyes to the hills from whence cometh my help!" is the first line of the Psalm 121. However, she uses the King James version of the Psalm, unheard of in Austria. The Reverend Mother was praying Psalm 121 since the family was heading right into the hills and that God would send help from those hills to protect the Vonn Trapp family.
*The movie drops three songs from the original show: "How Can Love Survive?" and "No Way to Stop It", which screenwriter Ernest Lehman felt were unnecessary, and "An Ordinary Couple," which was replaced by "Something Good".
* At the Musical competition at the end of the movie, Fraulein Schweiger, the third place winner, bows 16 times.
* Lesley Ann Warren auditioned for the role of Liesl.
* The house that was used as the Von Trapp home was actually owned by actress Hedy Lamarr.
* In 2007, the American Film Institute ranked this as the #40 Greatest Movie of All Time.
* Christopher Plummer learned to play the guitar for his part, but the guitar (like his vocals) were re-dubbed.
* In Argentina, the film is known as "The Rebellious Novice".
* In Austria the film is know as “Meine Lieder - meine Träume” (“My Songs - my dreams”). It's not very well known there though, and the ending of the film was cut when it hit Austrian cinemas in the 60s.
* Patty Duke, Mia Farrow and Sharon Tate all auditioned for the role of Liesl.
*Charmian Carr (Liesl) slipped and injured her ankle while filming "Sixteen Going On Seventeen". In early editions of the film, the bandage covering that ankle is visible. When the film was remastered for DVD, the images of this bandage were digitally removed. On the movie commentary of the 40th Anniversary edition in 2005, Charmian said that because of this, some people do not believe her when she says she danced on an injured ankle.
* At the beginning of filming, Heather Menzies (Louisa) was about three inches taller than Nicholas Hammond (Friedrich). He had to wear heel lifts to make him look taller. By the end of the shoot, Nicolas Hammond had grown six inches (5'3" to 5'9"). He often filmed in no shoes and Charmian Carr had to stand on a box to make her taller. All of the Von Trapp children grew a lot during filming, so heel lifts and various camera tricks were used to keep their heights steady.
* The first scene filmed was the scene in Maria's bedroom where Frau Schmidt brings the dress material, and later Liesl sneaks in through the window. One of the last scenes filmed was the "You are Sixteen" number, which appears in the film right before the scene in Maria's room. The two scenes were shot about 4 months apart.
* Though the film is virtually unknown in Austria, due to the international popularity you can visit the places were the filming took place with a special tour. Furthermore in many hotels in Salzburg the movie is played non-stop on TV for the tourists.
* The original Broadway production of "The Sound of Music" opened at the Lunt-Fontanne Theatre on November 16, 1959, ran for 1443 performances and won (in a tie) the 1960 Tony Award for the Best Musical.
* Jeanette MacDonald was originally considered for the role of the Mother Abbess, and she was interested, but, in the end, her increasingly worsening health precluded her taking the part. She died a month before the film was released. Had she been able to accept, it would have been her first film in sixteen years.
* In real life, Captain Von Trapp was not stern. The Trapp children were upset and disturbed by the portrayal of their father in the film. Maria Von Trapp requested that director Robert Wise soften the character of her husband, but Wise refused.
*The soundtrack album of the film (RCA Victor: 1965) is one of the best-selling soundtracks of all-time (some 11 million copies sold worldwide) and has never been out of print. A Grammy nominee for Album of the Year which remained at number one on the Billboard Charts for some five weeks, the very earliest issues of the album came with an illustrated booklet discussing the making of the film and the lives and careers of composers Richard Rodgers and Oscar Hammerstein II.
* In 1962, Julie Andrews and Carol Burnett appeared in a special, Julie and Carol at Carnegie Hall (1962) (TV), and at the time, "The Sound of Music" was still running on Broadway. Ironically, in a sketch on this TV special, Julie and Carol did a spoof of the "The Sound of Music" in much the same way Burnett later spoofed movies on her own variety show "The Carol Burnett Show" (1967). At the time, Julie Andrews had no idea she would later star in the film version.
* One of only 4 productions to win both the Best Play Tony (1960) and the Best Picture Oscar (1965). The other 3 are My Fair Lady (1957/1964), A Man For All Seasons (1962/1966) and Amadeus (1981/1984).
* When the Best Picture Oscar went to The Sound of Music (1965) (April 18, 1966), it was the first time the Academy Awards had ever been broadcast in color (ABC TV) (see also The Greatest Show on Earth (1952)).
* In the capacity of producer and director, Robert Wise won two statuettes but was unavailable to claim them due to his location shoot in Hong Kong on The Sand Pebbles (1966).
* Christopher Plummer opted out of the Harry Palmer role in The Ipcress File (1965) in favor of the Captain Von Trapp part, a decision he later regretted.
* The organ passages in the film's underscore were performed by jazz organist Buddy Cole, who suffered a fatal heart attack the day after his recording sessions.
* Christopher Plummer was not fond of the song "Edelweiss," which he considered trite, and wrote a letter to screenwriter Ernest Lehman suggesting a new song should be written to replace it, but he was rebuffed.
Goofs
* Errors in geography: Salzburg is on Austria's German (not Swiss) border. (In real life the von Trapps simply traveled 100 km to the Italian border for a supposed mountain-climbing vacation, crossed openly, and did not return. The border closed the very next day.)
* Continuity: The first time Maria goes to see the Reverend Mother, Sister Margaretha tells her she can go in and puts a hand on her arm. She takes her hand away and walks out the door. In the next shot, from inside the Reverend Mother's office, she still has her hand on Maria's arm and then walks away again.
* Audio/visual unsynchronized: When Maria sings "My Favorite Things" to the children during the thunderstorm, the Captain comes in and stops the fun. As she watches the children running into line, she says something like "Wha-" after finishing the song, but her mouth doesn't move.
* Continuity: In the opening scene, when the helicopter camera zooms in on Maria, it's bright and sunny, but when it switches to a regular camera, the sky is suddenly cloudy.
* Factual errors: Numerous discrepancies of insignia on the German uniforms.
* Incorrectly regarded as goofs: The claim that an orange crate says "Product of Israel" despite Israel not existing at the time the film is set is false. Though the crate and its label are clearly visible in a publicity still taken during the filming of that sequence, the crate is not visible in the completed film.
* Incorrectly regarded as goofs: Papa von Trapp was an officer in the Austrian Navy. Yet how can this be? Austria is a landlocked country. But it wasn't, during World War I, when the old Austria-Hungarian empire, which included what became Yugoslavia, had ports on the Adriatic Sea and Papa Von Trapp served in its navy.
* Continuity: Capt. von Trapp's hair When the children welcome Maria and the Captain home is a brownish color and in a different style from the rest of the film.
* Continuity: Bandage (covered with makeup) visible on Liesl's ankle in "Sixteen Going on Seventeen" but not in the surrounding scenes (she sprained her ankle while rehearsing part of the sequence, after other parts had already been shot). The bandage has been erased from the scene for DVD.
* Continuity: Prior to singing "Edelweiss" in the drawing room, when Maria first offers the Captain the guitar, he is holding a glass of port in his right hand, he begins to raise his left hand to gesture. The scene cuts to a wider shot and the glass is in his left hand as he raises his right to gesture.
* Continuity: At the party, Herr Zeller meets Captain Von Trapp and the Baroness and then moves on his way. After him are a lady and gentleman who greet the hosts. However, as Herr Zeller is walking away we see the lady and gentleman greet them again over his shoulder.
* Revealing mistakes: During the thunder storm, when Liesl supposedly climbs up to Maria's room, we see her outside, running over to the window. She then tells Maria she climbed up. She could have climbed up elsewhere and made her way along a ledge, but when we look outside there's no evidence of a ledge wide enough to facilitate her running.
* Errors in geography: When Maria eats her first meal with the von Trapps, they all use their eating utensils the American way, i.e. with the fork in their right hand.
* Revealing mistakes: When Maria arrives at the von Trapp house, she has two shadows at 90 degrees to each other. There should only be one shadow, as it is broad daylight.
* Miscellaneous: When Maria is singing "My Favorite Things" to the children the first time, during the first verse and chorus, one of the girls, Marta, is seen miming the words to herself - especially the last line of the chorus, "... so bad!"
* Continuity: When Maria goes to see the Mother Abbess (after "Maria") the chair is at the end of the desk as she enters the room. But when the Mother Abbess tells her to sit, it is in the middle.
* Continuity: During "Do, Re, Mi", Maria's hair is blowing in the wind in the long shots but is perfectly combed in the close-ups.
* Factual errors: The Captain and Maria return to Salzburg early from their honeymoon when they hear about the annexation of Austria to Germany. They pull up to their home, and the Captain quickly tears up a Nazi flag that has been displayed there. It is clearly warm and there are leaves on the trees - late spring or summer. The annexation of Austria took place on 13 March 1938, and it would therefore have been colder, grayer, and there would not have been any leaves on the trees.
* Continuity: Just before the Captain first sings "Edleweiss", he reaches for a glass, but in the next shot there is a bottle in his hand.
* Continuity: When the Nazi troops are marching through the town square, the building shadows change position in relationship to the horse and carriage.
* Revealing mistakes: When Captain von Trapp and Maria come back from their honeymoon, he pulls a Nazi flag down from above his front door. As he does so, he is obviously searching for the correct place to tear the flag and eventually finds a slit which has been marked by the prop people. You can also see the slit going down into the flag.
* Revealing mistakes: In the final scene of the film, the rippling of the grass shows that there is a helicopter hovering above.
* Incorrectly regarded as goofs: The Mother Abbess tells Maria that Captain von Trapp's wife died "several years ago". A distressing number of people have heard this as "seven years ago" and wonder how she can have given birth to the five-year-old Gretl.
* Revealing mistakes: When Maria and the children come back from their day of play and are singing inside, they decide who is next to sing; Captain Von Trapp. When Maria hands the Captain her guitar, it has no strings on it. While he is playing and singing, the strings will appear then disappear.
* Errors in geography: At the beginning of the film where Maria is dancing on the top of the mountain and she hears the bells of the convent ringing, firstly the mountain is so far away that there is no chance that she would hear it, even with bionic hearing. Secondly, she runs down the mountain to the cathedral in minutes when it's about 20 miles away.
* Continuity: In the song "Do Re Mi" when Maria and the children are riding in the carriage, you see the same store fronts several times as the carriage passes by.
* Continuity: At the beginning of the movie (just after it tells us we're in Salzburg, Austria), the nuns are shown walking through the Abbey on their way to mass. Two nuns are shown beginning to rise from kneeling in front of what may be icons. In the next shot they are no longer there.
* Continuity: When the children are singing "So Long, Farewell" during the party, the rug moves about 18 inches so the children's feet are lined up
* Continuity: During the thunderstorm, when Gretel runs into Maria's room, she throws open the door and we hear and see it bang on the opposite wall. However in the next shot, a close up of Gretel we see it bang against the wall again in the background but no sound is heard.
* Anachronisms: The guitar played throughout the movie is a Goya guitar. Goya guitars were first made by the Levin Company from Sweden in the early 1950s.
* Revealing mistakes: When the Germans are searching for the family on the roof of the abbey, one of the actors shines his flashlight accidentally toward the "mountains," and it throws a beam of light on the painted wall, revealing the fact that the Alpine scenery is painted, not real.
* Revealing mistakes: When the Germans are searching for the family when they are hiding between the wall and the tombstones, one shines his flashlight through the locked gates. When the shot goes to the light panning around the enclosures, the beam is not that of a flashlight, but of a spotlight (non-defined edges, lighter/darker parts of the beam, vs. defined edges, bright circle).
* Revealing mistakes: The exterior front door of the Von Trapp villa, shot in Salzburg, is a double door, maybe 7ft high, with a semi-circular glass fan-light above it. The interior of that same door, shot at Fox's studios in California, has a similar double door below, but with double height solid wood paneling continuing above it. No fan-light to be seen anywhere. It's interesting to note that the back door of the villa, opening onto the rear terrace, and again seen at various points during the movie, is also a 7ft high double door with a fan-light above it, but the interior and exterior versions of this do match up.
* Anachronisms: When Rolf gives the telegram from Berlin to Liesl, his black feldmutze still has the Austrian red-white-red roundel on it.
* Continuity: Liesl tells Maria that she and her siblings do not know how to sing when it shows her and Rolfe singing "Sixteen Going on Seventeen" in a previous scene.
* Crew or equipment visible: When Maria and the Captain are outside the gazebo, there's a stage light visible in a few shots.
* Continuity: The front exterior of the house has two rows of windows, yet when you enter the house, there are no windows at the front of the house.
* Continuity: When Maria capsized the rowboat full of children prior to meeting the Baroness, the rowboat turns sideways and nearly fills with water, sending two-thirds of the sinking boat under the waterline. Seconds later, the boat only contains about ten gallons of water and is floating safely again.
* Continuity: Every time that the children are all together forming a straight line they manage to keep a straight line of heights, from the eldest to the youngest. But throughout the rest of the film, the five eldest children appear to have different heights from one scene to another.
* Audio/visual unsynchronized: When Maria and the Captain meet the children after their honeymoon, when the children are telling Maria they are going to sing, Friedrich approaches her and he obviously tells her something but there is no sound of it.
* Continuity: During Maria's 'I Have Confidence' song there is a field with a horse behind her to the right and as she continues singing she goes down a path that puts that would put that field on her right. In the next shot of her singing there is a long building on her right with no sign of the horse or field.
* Audio/visual unsynchronized: Before Maria teaches the children how to sing "Do Re Mi," she tunes the guitar. She turns the peg which tunes the high "E" string, but a lower pitch being tuned is heard against the high "E."
* Revealing mistakes: When the family is hiding in the abbey, Friedrich has a small smile on his face.
* Continuity: When, on their first day out, Maria asks the children what songs they know. Friederich responds that they 'don't know any' songs. Leter when the guitar is offered to Captain Von Trapp and he is deciding what to sing, Friederich can be heard saying 'sing us something we know'.
* Revealing mistakes: When Maria first leaves the convent, one of the bars in the iron gate is visibly cut away to make room for the camera.
Qoutes
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?
Captain von Trapp: It's the dress. You'll have to put on another one before you meet the children.
Maria: But I don't 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 didn't want this one.
Captain von Trapp: Oh, there's nothing wrong with the children. Only the governesses.
Frau Schmidt: The Von Trapp children don't play. They march.
Maria: When the Lord closes a door, somewhere He opens a window.
Captain von Trapp: You are the twelfth in a long line of governesses who have come here to look after my children since their mother died. I trust you will be an improvement on the last one. She stayed only two hours.
Captain von Trapp: 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: [saying her bed time prayers] I forgot the other boy. Oh, what's his name? Oh, well, God bless What's-his-name.
This is one of my favorite movies ever!! It's the best and highly recommend it to anybody to watch!! Great clean family movie!!
Plot(Taken from Imdb.com) In the early 1900s, elderly Matthew Cuthbert and his spinster sister Marilla Cuthbert live on a farmstead in Avonlea, Prince Edward Island, the house on the property known as Green Gables. To assist with the farm work, they decide to adopt an orphan boy. Through an error, they instead receive a twelve year old orphan girl named Anne Shirley. Anne is outspoken, opinionated and stubborn, but she is also kind, good-hearted and bright. She is extremely self conscious of her looks, especially the fact of her freckles and her red hair. She has a vivid imagination tending toward fantasized romance and tragedy, this a mechanism to escape the harsh life she's endured thus far. Upon meeting Anne, Matthew does not have the heart to send her back. Although the Cuthberts have no practical use for a girl, Matthew talks a begrudging Marilla into keeping Anne, if only on a trial basis. In addition to Marilla, Anne has to win over many of the people of Avonlea, who see an orphan as being nothing but trouble. But in Avonlea, Anne also has many kindred spirits as she calls her dearest friends, including Matthew, classmate Diana Barry, Diana's Aunt Josephine and school teacher Muriel Stacey. Another colleague with whom she has a rocky beginning is classmate Gilbert Blythe, although Gilbert sees Anne in a different light. Through trials and tribulations, Anne does win over those important to her, including Marilla, who ultimately cannot even imagine what life would have been like without Anne. As Anne matures into young womanhood into her late teens, she demonstrates her many talents at Green Gables, at public school and at Queen's College in Charlottetown. When tragedy strikes the Cuthbert family, Gilbert shows Anne how true a kindred spirit he really is. Trivia(Taken from imdb.com)
'Schuyler Grant' auditioned for the role of Anne Shirley before she was eventually cast as Diana Barry.
The scene where Mrs. Hammond brings Anne to the orphanage was done last.
The scene in the kitchen in which Anne tells Marilla she will apologize to Mrs. Lynde was shot with a body double for Richard Farnsworth as his schedule could not permit him to be there. All close-up shots were filmed later.
Katharine Hepburn was originally approached to play Marilla Cuthbert. She declined, but suggested her relative (great-niece), 'Schuyler Grant' for the part of Anne.
The scene where Anne and Marilla are walking back from Mrs. Lynde's after Anne's theatrical apology was the very first to be filmed.
A lot of the scenes, mainly long shots, were made before any of the characters were cast.
Megan Follows beat out 3,000 girls for the role of Anne Shirley.
Colleen Dewhurst grew up on Prince Edward Island
Goofs(Taken from imdb.com)
Boom mic visible: Reflected in the window behind Anne at the train station.
Revealing mistakes: In the scene when Marilla shows Anne to her room on her first night at Green Gables, Megan Follows enters the room and when she does her hat brushes Colleen Dewhearst in the face. When Colleen Dewhearst turns toward the camera, you can see her barely holding in her laughter. According to Kevin Sullivan, Dewhearst was renowned for her practical jokes, and she did something in the room as a joke on Megan Follows. Sullivan could not recall exactly what Colleen had done. This is the reason why she's trying to hold in her "laughter".
Continuity: After Diana gets drunk, Anne is seen running after her. Anne's tights change back and forth between black and white.
Factual errors: When Miss Stacy is first introducing herself to the class, Anne takes out a pencil. We can see that the pencil has a metal tip with an eraser at the end. In the early 1900's, the time period of this film, pencils would not have had a metal tip or an eraser attached to them.
Revealing mistakes: During multiple scenes with Matthew in them there are shots taken from different angles around him showing us that it is a double playing the character instead of the actor Richard Farnsworth. Examples of this are when Matthew first goes to pick up Anne from the station, when he is taking her to Green Gables in the buggy, when Anne gets wet in the lake, is rescued by Gilbert, and then when Matthew puts his coat around her.
Continuity: In the scene in the general store where Anne is buying some fabric for a dress, Alice is shown putting the bolt back on the shelf. It cuts to a closeup of Anne and then the next shot shows Alice putting the same bolt back on the shelf again Qoutes from the movie(Taken from imdb.com)
Anne Shirley: My life is a perfect graveyard of buried hopes. That's a sentence I read once and I say it over to comfort myself in these times that try the soul.
Anne Shirley: This is the most tragical thing that has ever happened to me.
Aunt Josephine: Make a little room in your plans for romance again, Anne, girl. All the degrees and scholarships in the world can't make up for the lack of it.
Mrs. Cadbury: Tell me what you know about yourself. Anne Shirley: Well, it really isn't worth telling, Mrs. Cadbury... but if you let me tell you what I IMAGINE about myself you'd find it a lot more interesting.
Anne Shirley: Can't you even IMAGINE you're in the depths of despair? Marilla Cuthbert: No I cannot. To despair is to turn your back on God.
Anne Shirley: Mrs. Hammond told me that God made my hair red on purpose and I've never cared for Him since.
Anne Shirley: Don't you ever imagine things differently from what they are? Marilla Cuthbert: No. Anne Shirley: Oh Marilla, how much you miss.
[Marilla, commenting on whether or not she'll keep Anne] Marilla Cuthbert: If she can avoid catastrophe two days in a row, I might have a chance to make up my mind.
[Anne, after a failed attempt to dye her hair] Anne Shirley: I thought nothing could be as bad as red hair. Green is ten times worse.
[Anne has just fallen from a roof] Diana Barry: Just say one word and tell me if you're killed! Anne Shirley: No... but I think I've been rendered unconscious.
Anne Shirley: I don't think Mrs. Barry is a well-bred woman. I don't believe God himself would entirely meet with her approval. Marilla Cuthbert: Anne, you musn't say things like that... especially in front of the minister's wife. But, if you left God out of it, you'd have it just about right.
[Anne, after she's forbidden to see Diana] Anne Shirley: Farewell, my beloved friend. Henceforth, we must be strangers living side by side... but my heart will be ever faithful to thee.
Anne Shirley: Tomorrow is always fresh with no mistakes in it.
Anne Shirley: I know I chatter on far too much... but if you only knew how many things I want to say and don't. Give me SOME credit.
Anne Shirley: Ruby Gillis says when she grows up, she wants to have a line of beaus on a string and make them crazy for her. I'd rather have ONE in his rightful mind.
[Anne, commenting on city life] Anne Shirley: I think I would probably come to the conclusion that I'd like it for a while... but in the end, I'd still prefer the sound of the wind in the firs across the brook more than the tinkling of crystal.
Aunt Josephine: I like people who make me like them. Saves me so much trouble forcing myself to like them.
Aunt Josephine: Wealth can be very empty when you don't have someone to share it with. But by the time I realized that, no one would have me... except men who wanted my money more than I did.
[Marilla, reading a letter from Anne away at college] Marilla Cuthbert: As Rachel Lynde used to say, the sun will go on rising and setting whether I fail in Geometry or not. I think I'd rather it didn't go on if I failed.
[after Matthew's funeral, Marilla finds Anne crying in her room] Anne Shirley: Tears don't hurt like the ache does.
Diana Barry: I wish I were rich, and I could spend the whole summer at a hotel, eating ice cream and chicken salad. Anne Shirley: You know something, Diana? We are rich. We have sixteen years to our credit, and we both have wonderful imaginations. We should be as happy as queens. [gestures to the setting sun] Anne Shirley: Look at that. You couldn't enjoy its loveliness more if you had ropes of diamonds. Diana Barry: I don't know about that.
Anne Shirley: And I promise I'll never do it again. That's the one good thing about me. I never do the same wrong thing twice.
[commenting on Anne's outburst toward Rachel] Rachel Lynde: Mark my words, Marilla. That's the kind puts strychnine in the well.
[commenting on Anne's dramatic apology] Rachel Lynde: Her tongue appears to be hinged in the middle, but she may turn out all right.
[Gilbert finds Anne clinging to the post under a bridge] Gilbert Blythe: Anne Shirley. What in heck are you doing here? Anne Shirley: [trying to be diganified] Fishing. For lake trout.
Gilbert Blythe: Psst! Carrots! Carrots!
Anne Shirley: Wilt thou give me a lock of thy jet-black tresses? Diana Barry: But I don't have any black dresses. Anne Shirley: Your hair. Diana Barry: All right.
Gilbert Blythe: Well, I figured you can give me a hand with my work, and we'll call it a fair exchange. Anne Shirley: Aren't you worried? I'm liable to break another slate over your head. Gilbert Blythe: I'm more worried I might break one over yours, carrots.
Marilla Cuthbert: I'm afraid for her, Matthew. She'll be gone so long. She'll get terrible lonesome. Matthew Cuthbert: You mean, we'll get terrible lonesome. Marilla Cuthbert: I can't help wishing that she'd stayed a little girl. Matthew Cuthbert: Mrs. Spencer made a lucky mistake, I guess. Marilla Cuthbert: It wasn't luck; it was Providence. He knew we needed her. Matthew Cuthbert: Even with her queer little ways. Marilla Cuthbert: I loved her for them.
Anne Shirley: Please, Matthew. You need help. We've got to get a doctor. Matthew Cuthbert: I've worked hard all my life. I'd rather just drop in the harness. I got old; I never noticed. Anne Shirley: If I'd been the boy you sent for, I could have spared you in so many ways. Matthew Cuthbert: I never wanted a boy. I only wanted you from the first day. Don't ever change. I love my little girl. I'm so proud of my little girl.
Anne Shirley: Oh, Marilla, you look so elegant! Marilla Cuthbert: You don't make important visits in kitchen clothes.
Rachel Lynde: [after seeing Matthew riding in the buggy to get Anne] Oh, my afternoon is spoiled.
Marilla Cuthbert: Oh, this is a fine kettle of fish.
Anne Shirley: Would you please call me Cordelia?
Anne Shirley: Plain, old, unromantic Anne Shirley.
Marilla Cuthbert: [talking to Matthew] She could talk the hind leg of a mule. Hmm, wouldn't that be a change around here.
Marilla Cuthbert: That girl is next door to a perfect heathen.
Anne Shirley: How would you like to have nasty things said about you? How would you like to hear that you're fat, ugly, and a sour old gossip!
Anne Shirley: He called me carrots!
Marilla Cuthbert: Oh, you blessed girl. I know I ought to stick to it and make you go to college, but I've learned better than to stand in your way. Gilbert Blythe will be teaching, too. Won't he? Anne Shirley: Yes. Marilla Cuthbert: What a nice looking young boy he is. He looks a lot like his father did at that age. We used to be real good friends, he and I. People called him my beau. Anne Shirley: And what happened? Marilla Cuthbert: We quarreled and I wouldn't forgive him when he asked me to. I wanted to after a while, but I was stubborn and I wanted to punish him first. He never came back. I, uh, always felt rather sorry. I, uh, sort of wished that I'd forgiven him when I had a chance.
Marilla Cuthbert: Making a little wine for refreshment is far less sinful then meddling in other people's affairs!
[Marilla meets with Mrs. Barry and Rachel after Diana gets drunk] Mrs. Barry: Marilla, I don't believe a word. Anne Shirley is a conniving, manipulating child and she's pulled the wool over your eyes. Rachel Lynde: I always warned you about making that current wine, Marilla. You said it wouldn't have the least effect on anyone. Well, I ask you. Marilla Cuthbert: It isn't meant to be drunk three tumbler-fulls at a time! And if I had a child that was so greedy, I'd sober her up with a darn good spanking! Mrs. Barry: Oh! So it's my Diana's fault, is it? Rachel Lynde: It's the demon liquor's fault. And as I told you for years, if you didn't insist on making that current wine ... Marilla Cuthbert: [cuts her, furiously] My current wine is famous all over the island, Rachel Lynde, as you well know; and the Reverend Allen himself is not opposed to taking a bit when he comes calling. And as for Christian virtue: making a little wine for a refreshment is far less sinful than MEDDLING in other people's affairs! Rachel Lynde: [in shock] Oh! [Marilla leaves] Marilla Cuthbert: [to Mrs. Allen] Of all the unreasonable, pig-headed, self-important women that I have ever met - she is the worst!
Miss Stacy: The truth will set you free.
Marilla Cuthbert: Oh, stuff and nonsense.
Marilla Cuthbert: [to Matthew] You'd let her go to the moon if she had the notion.
Anne Shirley: Gilbert Blythe would stand on his head if I asked him to.
Miss Stacy: True friends are always together in spirit.
Anne Shirley: The fact that you rescued me, unnecessarily, hardly wipes out past wrongs.
Diana Barry: [Anne is about to perform "The Highwayman"] You've never failed at anything, Anne Shirley.
Marilla Cuthbert: [to Anne] I think you may be a kindred spirit after all.
Matthew Cuthbert: She? Station Master: Don't worry, I don't think she'll bite, Matthew.
Anne Shirley: Anne Shirley. Anne with an "e."
Anne Shirley: I've never belonged to anyone!
Matthew Cuthbert: You can talk all you like; I don't mind.
Matthew Cuthbert: It's a girl. Marilla Cuthbert: Well, I can see that.
Anne Shirley: [after saying her prayers] Did I do alright? Marilla Cuthbert: Yes, if you were addressing a business letter to the catalog store.
Anne Shirley: [after staying up all night with Minnie May, Anne is trying to stay awake on the ride home] Can't go to school now. I can [yawn] Anne Shirley: hardly keep my eyes open. Hate to stay at home and let Gil, get ahead.
Marilla Cuthbert: [Mrs. Barry has invited Anne over for dinner after Anne saves Minnie May's life] I believe humble pie is on the menu.
Matthew Cuthbert: [Anne has come into the barn to thank Matthew for her dress] Puffed sleeves. Anne Shirley: The puffiest!
Diana Barry: [Anne is going to apologize to Aunt Jo] Anne, don't. She'll eat you alive! Anne Shirley: Don't worry. I've had lots of practice making apologies.
Aunt Josephine: You amuse me and precious little amuses me in this world at my age.
Ruby Gillis: [about to reenact the Lily Maid scene] I'm frightened. Mrs. Lynde says acting is a sin.
Marilla Cuthbert: [rolling her eyes at Matthew's excessive purchase] Twenty. Pounds. Of brown. Sugar.
Anne Shirley: Wilt thou give me a lock of thy jet-black tresses? Diana Barry: I don't have any black dresses!
This is the best movie, I cried so hard at the end!! It is really a great Christian film to see starring Kurt Cameron!! It's a great message to it for married couples plus at the same time to get people thinking about Salvation!! You must watch this movie!! My new favorite movie!! Check out this weeks featured film!!
Plot(Taken from imdb.com)
Capt. Caleb Holt lives by the old firefighter's adage: Never leave your partner behind. Inside burning buildings, it's his natural instinct. In the cooling embers of his marriage, it's another story. After seven years of marriage, Caleb and Catherine Holt have drifted so far apart that they are ready to move on without each other. Yet as they prepare to enter divorce proceedings, Caleb's dad asks his son to try an experiment: The Love Dare. While hoping The Love Dare has nothing to do with his parents' newfound faith, Caleb commits to the challenge. But can he attempt to love his wife while avoiding God's love for him? Will he be able to demonstrate love over and over again to a person that's no longer receptive to his love? Or is this just another marriage destined to go up in smoke?
Trivia(Taken from imdb.com)
Kirk Cameron, a Christian evangelist, refuses to kiss any woman other than his wife. To film a scene in which his character in this movie kisses his wife, the filmmakers had to dress Cameron's real-life wife, Chelsea Noble, as the wife character (played throughout the rest of the movie by Erin Bethea) and shoot the kissing scene in shadow so the difference between Noble and Bethea would not be as evident on screen.
Instead of a fee for starring in the film, Kirk Cameron accepted a donation to his charity, Camp Firefly.
The film made in nine days what Sherwood Pictures' previous movie, Facing the Giants (2006) made in its entire four-month run.
In the scene when Caleb is first reading the "love dare" book, there are books on the coffee table. One of those books is "Facing the Giants", which is the novelization of the Kendrick brothers' earlier movie of the same title.
As of October 25, this is distributor Samuel Goldwyn's highest grossing movie-to-date.
Goofs(Taken from imdb.com)
Continuity: When the Catherine drives up to the firehouse to tell Caleb she loves & forgives him, the bays are all full and no trucks are in front of the bays, but when he comes out to see her the 2 bays are empty and the trucks are sitting out front.
Continuity: In the scene where Wayne is about to drink the hot sauce, Wayne's seating position changes. There is a moment where he is sitting closer to the table in one camera angle. The camera angle changes to a close-up shot and Wayne is clearly sitting upright.
Continuity: Michael takes a burger off the grill and puts it on a plate, then the camera cuts to another angle and the burger isn't on the plate anymore.
Continuity: Just before Catherine 'runs into' Gavin for the first time, she picks up her purse twice.
Continuity: Walking toward the cross for the father and son talk, the actors pass behind a huge tree about 20 feet from the camera, then emerge perhaps 100 feet away from the camera, throwing the perspective way off.
Errors made by characters (possibly deliberate errors by the filmmakers): When Caleb's father tells him that Caleb's mother was the one who did the Love Dare, the two men are on a long path in the middle of the woods, at least several hundred yards from Caleb's house. Caleb, an athletic fireman, immediately sprints back to his house to apologize to his mother. However, his father, an old man nearly twice his age, arrives at the house about 10 seconds behind him and is not even out of breath.
Continuity: During the scene where Caleb's wife is searching for her ring, she puts it on her right hand and then the next camera shot the ring is correctly placed on her left hand.
Qoutes from the movie(Taken from imdb.com)
Catherine Holt: So, what day are you on? Caleb Holt: Uh... 43. Catherine Holt: There's only 40. Caleb Holt: Who says I have to stop? -------------------------------------------------------------------------------- Caleb Holt: Marriage isn't fireproof. Michael Simmons: Fireproof doesn't mean the fire will never come. It means when the fire comes that you will be able to withstand it. -------------------------------------------------------------------------------- John Holt: Has she thanked you for anything you've done the last 20 days? Caleb Holt: No! And you'd think after I washed the car, I've changed the oil, do the dishes, cleaned the house, that she would try to show me a little bit of gratitude. But she doesn't! In fact, when I come home, she makes me like I'm - like I'm an enemy! I'm not even welcome in my own home, Dad. That is what really ticks me off! Dad, for the last three weeks, I have bent over backwards for her. I have tried to demonstrate that I still care about this relationship. I bought her flowers, which she threw away. I have taken her insults and her sarcasm, but last night was it. I made dinner for her. I did everything I could to demonstrate that I care about her, to show value for her, and she spat in my face! She does not deserve this, Dad. I'm not doing it anymore! How am I supposed to show love to somebody over and over and over who constantly rejects me? John Holt: [touches, then leans against cross] That's a good question. -------------------------------------------------------------------------------- Michael Simmons: The sad part about it is, when most people promise for better or for worse, they really only mean for the better. -------------------------------------------------------------------------------- Mr. Rudolph: Don't speak to him, Erma. He's weird. Erma Rudolph: Takes one to know one.
Info taken from imdb.com
