Pope Leo XIV Names The Sound of Music as a Favourite – But Does the Classic Still resonate?
in a video recently shared by the Vatican,Pope Leo revealed that The Sound of Music is one of his favourite films.
the 1965 movie musical follows a young aspiring nun named Maria, played by Julie Andrews, who is sent away from a convent too become a governess for the seven children of a retired naval officer named Capt. georg Von Trapp, played by Christopher Plummer.
Meanwhile, the rising tide of fascism in Austria becomes too tough to ignore and the Von Trapp family’s life is changed forever.
Considering its themes of love,hope and compassion,perhaps it should come as little surprise the Hollywood classic resonates with the leader of the Catholic church.
That stamp of approval has come during what has already been a momentous year for fans of the film, as The Sound of Music turned 60 this year.
The anniversary was marked with a limited international theatrical re-release featuring a restored and remastered version in 4K, as well as a 4K Ultra HD version that’s available to buy on digital and Blu-Ray. Later this month, a North American tour of the musical will take the stage in Toronto.
But with time and distance, beloved and nostalgic works of art don’t always hold up for modern audiences. So where does The Sound of Music stand?
According to John Barker,creative managing director for the U.K.-based digital content hub All The Right movies, the film is still a fixture both on “best of” film lists and in the lives of people around the world.
WATCH | Do-Re-Mi from The Sound of Music, in 4K:
https://www.youtube.com/watch?v=ekyURclrK60
“The filmmaking is, I think, up there with anything Hollywood’s produced. And musically … there’s not many musicals out there, if any, which have as many classics on the soundtrack as The Sound of Music,” Barker said.Some of the classic tunes include So Long, Farewell; Climb Ev’ry Mountain and Sixteen going on Seventeen.
“It is indeed much beloved as, I think, it connects with people. That’s really difficult to do at any point, let alone something that resonates across the kind of decades like this has,” Barker said.
The Sound of Music is a fixture year-round for many around the world. New York times journalist Jim Tankersley reported that the film brings “millions of dollars in tourism revenue” to Austria annually for tours of the filming locations and events celebrating its legacy.
And with the annual return of “warm woolen mittens” and “brown paper packages tied up with strings,” as referenced in the song My Favourite Things, there are sing-along screenings in theatres internationally. Seemingly endless reruns of the film appear on TV throughout the holiday season.
Barker credits the multifaceted performance of Andrews as Maria with capturing the minds and hearts of audiences for years. “I think Maria could have been quite insufferable. She is very earnest. She is always positive, always cheerful about everything, but they inject – and largely through Julie Andrews
Modern Viewers Re-examine “The Sound of Music” – Is the Beloved Classic Problematic?
“The Sound of Music,” the iconic 1965 musical, continues to captivate audiences, but a growing conversation is emerging about how the film’s portrayal of female characters holds up under modern scrutiny. While still lauded as a timeless story,some critics and viewers are questioning the dynamics between Maria,the Baroness,and Captain von Trapp,particularly regarding female agency and portrayal.
The central critique revolves around the contrast between Maria and the Baroness. Critics argue that the Baroness, despite being a financially independent and powerful woman, is ultimately presented as a foil to Maria, and her ambition is framed negatively. Cultural commentator Sarah Hambrock expressed concern,stating the film presents “a deeply disappointing story about how a free woman is,you know,kind of a little bit of a threat,” especially one as capable as the Baroness. she finds the Baroness’s choices, while perhaps flawed, to be more complex than Maria’s, who “doesn’t get to make choices.”
Film critic Jason Barker acknowledges this perspective, noting that Maria’s transition from independence to a traditional wife and mother role may not resonate with contemporary audiences. He also agrees the Baroness is a “dated trope.” However, Barker cautions against applying present-day sensibilities to a film created in a different era. “It’s probably not fair to judge a film that was made in 1965 on sensibility from 2025, because it wasn’t made by people who had any inkling of what things were going to be like,” he explained. He emphasizes the importance of understanding the film within its historical context.
Barker also points to nuances within Maria and the Captain’s relationship that preserve her strength and agency, arguing they “don’t undermine the main themes and the message of the film.” He concedes, however, that Maria’s character would likely be written differently if the film were made today.
Despite these emerging critiques,both Hambrock and Barker agree on the film’s enduring power. Hambrock believes it remains “a really enduring story that stands up now,” particularly in its depiction of resistance against fascism. She draws parallels to contemporary issues, asking, “who are the wealthy leaders who are … standing up to fascism instead of, you know, seeing this rise of authoritarianism and seeing it as like a great business possibility?”
barker highlights the film’s lasting influence on subsequent filmmaking. He notes its impact on visually grand productions like The Lord of the rings, citing the sweeping landscapes and earnest tone as key elements that have been echoed in later works. He even suggests that modern cinema could benefit from revisiting the emotional sincerity found in The sound of Music, arguing that Hollywood films have sometimes become hesitant to fully embrace emotional depth.
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