My Top 20 Favorite Goofy Shorts

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It’s the 90th anniversary of everyone’s favorite goof. Whether you know him as Dippy Dawg, George Geef, Mickey’s loyal pal, Max’s dorky dad, one of Donald’s many sources of frustration, or just the character you compare to Pluto when debating pants and anthropomorphism, Goofy is the best kind of everyman. He’s adaptable to any situation and a master of physical comedy. Name a sport, and he’s “mastered” it. Name a job and he’s tackled it; his resume is nearly as long as Homer Simpson’s. Goofy’s cartoons have aged the finest out of the Fab Five’s thanks to a healthy dose of slapstick and wry modern commentary. He even survived the move to mundane 50s suburbia with most of his good humor and personality in tact. And like his costars before him, we honor him and his nine decades of goofing it up here today.

The usual rules apply: no bits from films, only short features (but A Goofy Movie would be Number One if that weren’t the case). And while Goofy works just as well on a team as he does solo, this thankfully won’t be another matter of sorting through Mickey cartoons where he steals the spotlight. But before we begin, here are some well-deserved Honorable Mentions:

• Goofy and Wilbur – Goofy officially gets his moniker in this charming short where he and his grasshopper pal risk life and limb in the name of fishing.
• Victory Vehicles – Goofy and his ilk develop a variety of creative and implausible modes of transportation as a response to the war effort.
• How To Be a Sailor – The reason why I barely saw this cartoon growing up is because the ending is one big screw you to the Japanese due to Pearl Harbor. But everything else up to that point is fantastic.
• Goofy’s Big Kitty – This Mouse Works short has Goofy confuse an escaped circus lion for his new kitty.
• How to Wash Dishes/Be a Waiter – These shorts appear to have misleading titles as they instead show Goofy globetrotting and becoming an actor respectively…but how they circle back to what the titles promise is genius.
• How to Play Golf – Playing a good game is easier said than done when an angry bull gets involved.
• Baggage Buster – Gags run amok when Goofy is tasked with unloading a magician’s trunk.
• Get Rich Quick – Goofy catches the gambling bug; a quick reminder that golden-age animation was created with adults in mind.
• Double Dribble – The rules of basketball barely apply when Goofys of varying size are involved.
• Fathers Are People/Father’s Day Off/Father’s Weekend/Father’s Lion – Goofy’s first forays into fatherhood come with many pitfalls and pratfalls – and the occasional risqué joke.
• The How To Stay At Home shorts – These extra-short shorts were created for Disney Plus in response to the pandemic, but Goofy learning to adapt to these unusual circumstances will make you smile.
• Goofy’s Radio – Goofy spends a day in the countryside, oblivious that his radio is the only thing keeping him from being a mountain lion’s lunch.
• Teachers Are People – Nothing but respect for good teachers in my house, even though Goofy doesn’t get much of it here.
• How To Take Care of Your Yard – Goofy gains a green thumb but destroys his home in the process.
• How To Sleep – An insomniac Goofy tries varying methods of getting forty winks when it’s time to actually go to bed. Shockingly relatable.
• How To Be A Spy – Paranoid that his neighbor is out to get him, Goofy attempts to master the art of espionage.
• How To Be A Rock Star – Goofy pursues stardom in the music world.
• How To Camp – This How To short takes an interesting turn when Goofy is abducted by aliens.
• A Goofy Movie – How could I not mention this? It’s Goofy as we’ve never seen him before, a fully-developed, compelling character that makes you feel things other than humor.

May Review: The Great Race (1965)

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1900s, 1960's, american west, arthur o'connell, austria, blake edwards, cars, cartoon, classic, classic comedy, classic Hollywood, Comedy, cult classic, dick dastardly, dorothy provine, edith head, feature, feature film, feature presentation, film, film review, henry mancini, hezekiah, intermission, jack lemmon, Keenan Wynn, larry storch, laurel and hardy, looney tunes, maggie dubois, max, movie, movie review, natalie wood, New York, obscure movie, Paris, peter falk, pie fight, prince hapnik, prisoner of zenda, professor fate, race, racing, racing game, review, roadshow, silent comedy, silent movie, silent movies, slapstick, slapstick comedy, the great leslie, the great pie fight, the great race, the prisoner of zenda, the sweetheart tree, tony curtis, travel, traveling, vivian vance, wacky races, Warner Bros., Warner Brothers, west

“Push the button, Max!”
– Professor Fate, usually before a catastrophe of his doing strikes

To say things have gotten tumultuous since the last review would be a gross understatement. But we’re not here to discuss today’s upheavals, important as they are. Let’s just take a moment to reflect and laugh. Lord knows we could use a good one right now.

Directed by esteemed comedy director and Hollywood bad boy Blake Edwards, The Great Race is a loving pastiche and send-up of silent comedies and melodramas from the early days of cinema (classic Laurel and Hardy in particular; the film even opens with a dedication to them). Thankfully the movie itself is not silent. What kind of genius madman would try to make a silent comedy in the late twentieth century?

Believe it or not, The Great Race was inspired by a real automobile race from New York to Paris that took place in 1908. Some of the more outlandish elements of the race like floating on icebergs across the sea were even based on genuine ideas that were proposed for the race but wisely ruled out. Despite its star power and a huge budget, The Great Race was a flop on release and quickly fell into obscurity. Critics assumed it was trying to ride off the popularity of Those Magnificent Men And Their Flying Machines, another big-budget all-star comedy with a similar premise. I’m more inclined to believe that its failure was due to the roadshow phenomenon that boomed in the late ’50s dying out at this point. It would be several more years until the epic format of a three-hour film with an overture and intermission faded from theaters completely, but audiences were already losing interest, and that rung The Great Race’s knell. Regardless, it’s garnered something of a cult fanbase from automobile aficionados (the original cars are still displayed at conventions), fans of classic cinematic comedies, and it even inspired the wildly popular Hanna-Barbera cartoon Wacky Races.

So if it wasn’t for this –

– we wouldn’t have this.

Rankin-Bass Month: The Little Drummer Boy (Review)

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The Little Drummer Boy began as a Christmas carol written under the title “Carol of the Drum” and was first recorded in 1951 by the Von Trapp Family Singers. Maybe you’ve heard of ’em. It was inspired by a long-lost Czech carol, and the French legend of a poor juggler who performs for a statue of the Virgin Mary. The idea of a performer humbly offering their own talents as a gift to a holy figure has been revised and retold in many ways throughout the years (the Tomie De Paola book The Clown Of God is a beautiful example), and has resonated so much in its current form that it’s brought together singers as diverse as Bing Crosby and David Bowie.

I’m willing to bet the song’s popularity is what attracted Rankin-Bass to it, but it still strikes me as an unusual choice for their first stop-motion special made following Rudolph. The R-B roster mainly consists of secular Christmas stories. Santa Claus is Comin’ to Town and Cricket On The Hearth barely touched on the Nativity in their tales. Little Drummer Boy, though? He doesn’t give a figgy pudding for Santa and wholly embraces the biblical side of Christmas. It’s only one of a handful Rankin-Bass specials that do – which means it’s buried beneath the more popular non-Jesusy Rudolph and Frosty outings. Heck, just look at the cover for Little Drummer Boy. Compare the covers for the other Rankin-Bass specials which advertise its celebrity narrator, or that they’re based on some “classic” story by a beloved author. There are TWO Academy-Award winning actors in the cast of Little Drummer Boy, and it’s partly based on what millions of people consider a true story, but instead of playing on that, there’s a cute tagline. Now I may be a tad prejudiced, but I find this to deliberate slighting of this particular Rankin-Bass special a bit unfair. Allow me to elucidate:

Rankin-Bass Month: Cricket On The Hearth (Review)

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Ladies and gentlemen, I have found it.

The lowest of the low.

The Rankin-Bass special that even Rankin-Bass fans despise.

Call it a hunch, but I think Charles Dickens really had a thing for Christmas. His most popular novel has the holiday in the title and has been adapted for the screen and stage at least over 200 times. Dickens set a few other tales at Christmastime, no doubt to recapture the magic and spirit of the holiday in the same way A Christmas Carol did, but those were met with less success. Does anyone here remember that classic “The Haunted Man”? That one was a ghost story that also took place at Christmas. Where are the hundreds of versions of that tale? Or “The Chimes” for that matter? Or “The Battle of Life”?

Then there’s today’s tale, “Cricket On the Hearth”, which only received two silent film adaptations (the first directed by D.W. Griffith) and a long-forgotten stage play. For yet-to-be-fathomed reasons, Rankin-Bass deemed it the perfect material to follow up their smash hit Rudolph three years prior. Instead of stop-motion animation, however, we get hand-drawn animation. While that would normally be a plus in my book, I’m not kidding when I say this is some of the cheapest, most unpleasant animation I’ve set my eyes on. It’s heavily recycled, the character designs are unappealing, and it cheats numerous times by just showing long periods of still images with nothing happening. I also had to be careful grabbing screenshots because the far-right side of the video flickered and was several frames off for some reason. And it wasn’t a corrupted file issue either, this is straight from the dvd. They aired this special on national television, how could they not be bothered to fix that?

And those are just the issues I have with the visuals.

The characters are one-dimensional tools, the songs are at best forgettable and at worst unbearable, and the story manages to be both devastatingly bleak and disgustingly saccharine while also insulting to its audience. Now, Charles Dickens was a talented writer knew how to properly mix those elements to tell a compelling and resonant story. In his Christmas tales, the sentimentality and darkness complement each other and ring true.

But guess who did such a bang-up job encumbering a song about ableist reindeer with a meandering hour-long plot that he was given free rein over the story?

Romeo, Romeo, wherefore art thou, Romeo? Deny thy special and refuse thy Writer’s Guild card. Or if not, throw thyself into the roaring cauldron of the sea and let the sirens peck at thy swollen flesh…sexist pig.

Well, this preamble has gone on long enough. Grab your insect repellent, folks, let’s look at Cricket On The Hearth.

Rankin-Bass Month: Frosty the Snowman (Review)

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1970's, 2D animation, animals, animated, animated cartoon, animated special, animation, barney, billy dewolf, campfire, cartoon, cartoon review, Christmas, Christmas cartoon, Christmas review, christmas snow, christmas song, christmas special, cop, frosty, frosty the snowman, global warming, hand drawn animation, hocus pocus, holiday special, Jackie Vernon, Jimmy Durante, june foray, karen, kids, mad magazine, magic hat, magician, melting, paul coker jr, Paul Frees, pointsettas, professor hinkel, rabbit, Rankin Bass, santa, santa claus, school, sled, sliding, snow, snowflakes, snowman, snowy, television review, television special, traditional animation, train, tv review, tv special

Well…this is awkward.

When I first wrote this review, it opened with Cynicism saying “Bad news, Shelf. Since you shat on Rudolph last week, Patreon’s taking money AWAY from you. If you don’t say more nice things about this week’s special, we’re going to have to file for bankruptcy.” Just a fun little way of letting you know today’s post is going to be a bit less harsh than the previous one.

But then I checked my Patreon hours after the Rudolph review went up, and the numbers had shrunk substantially.

It actually happened.

A silly one-off joke I wrote to ease you, the reader, into the review, accidentally came true.

It’s like the universe itself is punishing me for daring to not like Rudolph.

Okay, the truth of the matter is a bit more complicated than that, but nobody actually quit being a patron based on my feelings towards Rudolph, for which I am relieved and grateful for. It’s already been sorted out and I certainly don’t hold this mishap against anyone because of events beyond their control.

Anyway, enough of my rambling. If you can’t already tell, today’s holiday outing is Frosty The Snowman.

Frosty, Frosty, Frosty…yeah, not a big fan of this one either.

“YOU HATE FROSTY TOO, YOU MONSTER?!”

“I didn’t say THAT!”

Frosty, like Rudolph, was another Rankin-Bass special I lost my taste for due to forced overexposure. It’s light on story and character, the animation is nothing to write home over, and we trade a bunch of subpar songs for one song dragged across the entire affair. But I’ll give it this over Rudolph:

1. It’s shorter. Slashed right down the middle of Rudolph’s runtime, Frosty’s only twenty-five minutes of schmaltzy bland holiday fare instead of nearly an hour.
2. The only jerk in the special is the clear-cut villain, who’s the most fun character in this thing.
3. The cheap stop-motion has been replaced by cheap traditional animation. Not much of an exchange, I’ll take any crumbs of hand-drawn goodness I can get these days.

If I may elaborate on the latter, the designs for the characters and backgrounds are kind of interesting. The man behind them is Paul Coker Jr., who also created comics for MAD Magazine, hence why the characters have a bit of a unique geometric aesthetic but are still kind of…weird-looking. Alfred E. Neuman wouldn’t feel out of place among this cast.

Rankin-Bass Month: Rudolph the Red-Nosed Reindeer (Review)

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Hi! If this is your first time here, I highly recommend checking out my other movie/tv/holiday special reviews before this one, just to get a more positive idea of what to expect from my writing. Usually, I’m not this…well, you clicked on this review, didn’t you?

I suppose I should begin this month with a little bit of Rankin-Bass’ history. It was founded in 1960 by Arthur Rankin Jr. and Jules Bass under the name Videocraft International. They began by producing animated television series for children, alternating between stop-motion and traditional cel animation before combining both with a process they called “Animagic” (which sounds more like a fireworks show at Disney World than an actual animation technique if you ask me). All the animation for these shows and the holiday specials and films that they would later branch out into were outsourced to Japan. Throughout the studio’s existence, work rotated between five different Japanese animation houses: MOM Production, Toei Animation, TCJ (Television Corporation of Japan), Mushi Production, and Topcraft. Chances are if you’re into anime, then these names ring a few bells. These studios have produced hit after hit on the big and small screen, with some of them continuing to do so today, and many of Topcraft’s animators went on to bigger and better things at Studio Ghibli.

Most of Rankin-Bass’ Christmas specials, particularly the ones I’ll be looking at, follow a simple formula – take a well-known holiday song and build a story around it. It’s not a bad concept if a bit overutilized. Their first outing, and most beloved in the eyes of many, is Rudolph The Red-Nosed Reindeer, based on the tune of the same name written by Johnny Marks (who would also write the other songs in the special) and popularized by Gene Autry in 1949. The song itself was taken from a children’s book created a decade prior to promote the Montgomery Ward department store, and the special was sponsored by General Electric, who, by a stunning coincidence, were selling Christmas lights that holiday season which happened to resemble Rudolph’s nose.

In short, this special originated as a commercial, and always was one through and through.

In spite of its original intent, Rudolph has become a holiday staple and icon as big as Santa Claus himself. And if you are one of the millions of people on this planet who loves this special, there is absolutely nothing stopping you from doing so, and you are not wrong for enjoying it. After all, this is just one person expressing their opinion. If this person’s opinion differs from yours, that doesn’t invalidate how you feel nor should you feel as if you absolutely must agree with them –

“Hey…you’re making it sound like you’re about to say something bad about Rudolph!”

“Well, I-“

“Nobody dislikes Rudolph! Everyone in the entire world loves it! It’s a classic! The perfect Christmas special! You like Rudolph too, right? RIGHT?!”

“Well…”

MovieBabble Link: Top 10 Underrated Disney Romances

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classic disney, cute couples, Disney, disney animated, disney animated feature, disney animation, disney love, disney review, disney romance, list, love, moviebabble, Pixar, Romance, romantic comedy, top 10 list, underrated, valentine, Valentines Day

A bit early for Valentine’s Day, but here’s my look at some of Disney’s most underrated couples. I might expand on this another time, but for now, enjoy!
https://moviebabblereviews.com/2019/02/12/top-10-underrated-disney-romances/

My Top 20 Favorite Mickey Mouse Shorts

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1930's, 1940's, 1980's, 1990's, 2D animation, 90 years, 90's, adventure, animated, animated short, animated shorts, Brave Little Tailor, cartoon, cartoon review, cgi animation, classic Disney animation, Disney, disney animated, disney animation, disney review, Donald Duck, Epic Mickey, Get a Horse, golden age of Disney animation, goofy, hand drawn animation, House of Mouse, Kingdom Hearts, Little Whirlwind, Lonesome Ghosts, magic, Magician Mickey, Mickey Mouse, Mickey Mouse Club, Mickey’s Mouse Works, Mickey’s Trailer, Minnie Mouse, Mouse Works, Mr. Mouse Takes a Trip, Oswald the Lucky Rabbit, Peg-Leg Pete, Pete, Pluto, Prince and the Pauper, quest, Runaway Brain, short, Steamboat Willie, Symphony Hour, The Band Concert, The Mad Doctor, The Pointer, Through the Mirror, Thru the Mirror, traditional animation, Walt Disney, Wayne Allwine

As a lifelong Disney fan I can’t understate how much of an impact Mickey Mouse has had on me. In childhood, he was an icon and friend – instantly recognizable, a source of joy and entertainment, a hero and a role model. I know this is making me sound like one of those cheesy sponsors reading off a cue card, but when you’re talking about a mouse, expect plenty of cheese to be involved.

In the spirit of Mickey celebrating his 90th birthday, I’d like to share with you my 20 favorite shorts he starred in. Why 20? Because I couldn’t narrow it down to ten and I like to go nine steps beyond as opposed to one.

There were only two rules I set while making this list:

1. Mickey is the main focus, or at the very least he must be given as much to do as the other characters he shares the cartoon with. There’s a lot of great shorts out there that has Mickey’s name in the title – Mickey’s Parrot, Mickey’s Circus, Mickey’s Birthday, Mickey and the Seal, Mickey’s Christmas Carol, etc. – or has his face in the intro that advertises it as his adventure, but upon watching you find they’re really about Donald, Goofy or Pluto or literally anyone else but him.
2. Shorts only, no segments from full-length films or direct-to-video works. This means no Mickey and the Beanstalk from Fun and Fancy Free or various bits from Mickey’s Once/Twice Upon A Christmas, but sadly no Sorcerer’s Apprentice from Fantasia. I thought of excluding any short that ran over the usual length of five to seven minutes to about twenty, but that made my job even harder.

Now before we get to the countdown, here are a few Honorable Mentions:

• Mickey, Donald and Goofy in The Three Musketeers – If I were including full-length films on the list, this would be in the top five, bar none.
• The Sorcerer’s Apprentice from Fantasia – It would easily take the number one spot if it didn’t overlap with the #2 rule.
• Plane Crazy – The mouse’s first appearance on the silver screen, though he wouldn’t make as quite a splash until his sound debut in Steamboat Willie a few years later
• Orphan’s Benefit – One of my favorites as a kid. It made me laugh something fierce and still does, though a large part of it has to do with Donald and Goofy’s segments, hence why it’s only an honorable mention. Also, did you know that the color one we’re mostly familiar with is actually a remake of an earlier black and white version?
• Mickey’s Delayed Date – Pluto and Mickey tussle for attention in this outing.
• Haunted House – Spooky and atmospheric. Classic Disney nightmare fuel.
• The Gorilla Mystery – Mickey plays Minnie’s white knight yet again as he goes to-to-toe with a dangerous gorilla.
• Two-Gun Mickey – An American Tail: Mickey Goes West.
• Mickey’s Surprise Party – After Minnie’s dog spoils the cookies she was making for Mickey, he saves the day with some shockingly transparent corporate sponsorship. At least I take comfort in the fact that Mickey’s favorite cookies are the same as mine.
• Hansel and Gretel – Mickey and Minnie stumble upon a treacherous witch to the ominous strains of Danse Macabre.
• Mickey’s Cabin – Mickey outwits Pete and his dimwitted cousin with a little reverse psychology when they hold him hostage in his winter cabin. Hilarity ensues.
• Croissant – Mickey’s first short in the modern style proved you can’t keep a mouse on a mission down.
• Yodelberg – Continuing with the previous short, it’s modern Mickey at its most fast-paced and stylish fun.
• Shanghaied – It’s up to Mickey to save the day and Minnie again, this time from Pete and his dastardly crew of pirates.
• Mickey’s Christmas Carol – Mickey’s first cartoon in 30 years has him slightly out of the spotlight, but still got him back in the public eye for good.

September Review: The Music Man (1962)

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1960's, 76 trombones, band, being in love, broadway musical, buddy hackett, classic musical, eulalie shinn, gary indiana, golden age of musicals, good night my some one, good night my someone, goodnight ladies, goodnight my someone, harold hill, hermione gingold, Hollywood musical, if you don't mind my saying so, iowa, iowa stubborn, ireland, lida rose, marcellus, marcellus washburn, marching band, marian, marian paroo, marian the librarian, mayor shinn, meredith wilson, movie, movie review, mrs. shinn, musical, musical number, musical review, original, paul ford, pert kelton, pick a little, pick a little talk a little, prof. harold hill, robert preston, rock island, Romance, romantic cliche, romantic comedy, ron howard, sadder but wiser girl, seventy six trombones, seventy-six trambones, shirley jones, small town america, the buffalo bills, the music man, the sadder but wiser girl, til there was you, tommy jeelis, travelling salesman, travelling salesmen, trouble, trouble with a capital t, turn of the century, wells fargo wagon, winthrop, ya got trouble, you got trouble, zaneeta

“Please observe me if you will, I’m Professor Harold Hill,
And I’m here to organize the River City’s Boy’s Band!”

Let’s close out the summer with what I consider a must-watch summer musical. Doesn’t hurt that the main action kicks off on the Fourth of July.

“Missing another appropriate holiday-themed movie by several months. Ah, it’s good to be back.”

Based on the stories and childhood of Meredith Wilson, The Music Man weaves a tale of small town turn-of-the-century America, marching bands, charming charlatans, and the power of music that brings them all together. The original stage production notoriously beat West Side Story for Best Musical at the Tony Awards, though Tony and Maria got the last laugh when it came to the Oscars. I contend however that 1962’s The Music Man is a prime example of how to do a stage-to-screen adaptation. Through a combination of top-notch talent, music, staging, and witty witticisms it’s one of the crowning jewels of the Golden Age of Hollywood Musicals that lasted through the 60’s. Fifty years later its impact is still felt, at least musically. Chances are if you ambled down Main Street USA in any of the Disney parks you’ve heard the melodies of “Iowa Stubborn”, “Lida Rose”, “The Wells Fargo Wagon”, and “76 Trombones” playing in the background. It’s a staple for community theaters across the country. And like Chitty Chitty Bang Bang and The Sound of Music, it’s one of Seth MacFarlane’s most beloved and referenced musicals.

July Review: The Sound of Music

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“The hills are alive, with the sound of music…”

– Title Drop in the film’s opening

 

As the song goes, “Let’s start from the very beginning, a very good place to start…”

In September of 1938, Georg and Maria von Trapp, who, along with their seven children, made up the talented singing group The Von Trapp Family Singers, emigrated from Austria to America to escape the growing hostility of Hitler’s early years in power. Their story was made into a film in 1956, “The Trapp Family”, which was seen by Broadway director Vincent J. Donehue. He thought it would be the perfect vehicle for his actress friend Mary Martin and brought on Richard Rodgers and Oscar Hammerstein II, aka Rodgers and Hammerstein, aka the songwriting team known for “South Pacific” and “The King and I” among others, to write a couple of songs for it. Eventually R&H ended up turning the play with music into a full-out musical, and in the process created one of the most iconic and beloved shows to date. The original production won five out of its nine nominated Tonys, many of its songs have become vocal standards, and it’s enjoyed countless revivals on Broadway and the high school theater circuit (I myself was in my school’s production; despite the fact I had a good chance of playing Liesl I got the role of the housekeeper because the director liked to play favorites when casting).

Naturally the show’s success meant a film adaptation was inevitable, and much of the show’s original creative team was on board. Cancer had other plans, however, and it sadly took the life of Oscar Hammerstein shortly after the original theatrical production premiered, leaving Rodgers to re-work the music and write new songs on his own. Despite losing half of Rodgers and Hammerstein, there wasn’t much difficulty in getting the film made apart from coaxing Robert Wise – who had already directed the Oscar-winning adaptation of West Side Story and was the first choice to direct this movie – to sign on. Another first choice to play Maria was Julie Andrews, who screenwriter Ernest Lehman clamored to join immediately after seeing her in Mary Poppins. A much harder actor to get was Christopher Plummer for the role of Captain Von Trapp; he eventually agreed but only if he could work with Lehman to improve the character. Normally when an actor does this it rarely turns out well (and Plummer later admitted that he was quite arrogant at the time due to his successful stage career), but I think Plummer’s enhancements were a major improvement to Captain Von Trapp, and I’ll get into why later.

The Sound of Music is often cited by critics and theater fans in general as one of the greatest musicals of all time, and arguably the best stage-to-screen adaptations to date – and they’re not wrong. As someone who’s been in the stage version, I personally think the movie is even better (and that’s not bitterness towards the director talking). The musical numbers are iconic to the point of being parodied countless times AND most revivals of the show go out of their way to incorporate elements from the film rather than follow the show’s original book. The Hollywood Bowl in California has a sing-along with the movie every year that always sells out, Austria has a popular tour route that visits locations where the film was shot, it’s been shown annually on ABC during the holidays since 1976, and it has the unusual distinction of being Seth McFarlane’s favorite movie (then again, looking at how many times he’s referenced it on his shows, it’s no big surprise. I swear he hosted the Oscars just so he could make this joke when introducing Christopher Plummer).

So after all that buildup, how does the film hold up? Let’s find out.

 

We open on a version of the 20th Century Fox logo without the traditional fanfare. Sounds weird, huh? It’s hard to imagine it without the music that always accompanies it, but it leads into the film in a way that took Robert Wise a lot of convincing on his part to accomplish, and pays off brilliantly. The film truly begins on a montage of the Austrian countryside, starting through the clouds and flying over the mountains. I remember hating this part as a kid because there was no music and it felt like it dragged on forever. It was something I never truly appreciated until I was older, however. Slowly the film draws us into its world, showing us the majesty  and making us anticipate the  Also, thanks to the magic of blu-ray, we can hear the orchestra starting up in places like snatches of birdsong on the wind, all leading up to the film’s most iconic shot – in one long take, we pull in on a vast green hill, where a tiny lone figure climbs up and spins in rapture as we draw closer.

And the opening song…my words can do no justice. Enjoy.

 

 

 

Everything from the visuals to Julie Andrew’s beautiful voice makes it one of the greatest film openings of all time. I admit, it’s hard for me not to get a little choked up seeing it.

The sound of church bells calls Maria away and after returning for her discarded habit, she runs to the abbey. After the opening credits, we see the nuns in the abbey performing mass, and regardless of whether or not you’re religious in any capacity, this whole scene is beautifully shot. It gives you the idea of how these nuns live, showing their devotion to God through their solemnity.

After the mass, Mother Abbess (Peggy Wood) is approached by one of the sisters who is searching for Maria. Mother Abess recommends searching somewhere unusual since Maria herself is “unusual”. This leads into her and the rest of the nuns, Sister Margaretta, Berthe and Sophia (Anna Lee, Portia Nelson and Marni Nixon respectively) discussing the situation that is Maria – she is a novice hoping to take her vows, but she has a youthful enthusiasm and playfulness that is impossible to tame. Sisters Margaretta and Sophia find her antics amusing, but Sister Berte finds her immature and out of place in the abbey. The others are split, and they sing about her transgressions – her lateness for everything except supper, her honest penance but (gasp!) singing in the abbey – in “How Do You Solve a Problem Like a Maria”, a tune that’s impossible to get out of your head once you hear it. As if to prove their point, Maria herself interrupts the number by running in to wash up and sneak into the chapel, only to realize she’s been caught and skulks off.

Also, if I may, I’d like to give a shout-out to Marni Nixon. You’ve probably heard her sing in a lot of other classic musicals but have never seen her face – this is because she was hired to dub over the singing for some of the actresses. Natalie Wood in West Side Story, Deborah Kerr in The King And I, and Audrey Hepburn in My Fair Lady are all guilty of “stealing” her voice.

Robert Wise liked Miss Nixon enough to recognize that she could act as well as sing, and gave her a role in the film. It’s nice that after a long time of singing behind the scenes, she was able to finally do so onscreen.