Plot Summary
Meeting Maria
The film opens with the soaring mountains and scenery of Austria, skirting down close to the city of Salzburg just in time to meet Maria, running through the open fields.
In the opening song, "The Sound of Music," Maria sings about finding freedom and solace in both nature and music...and in fact, she finds so much solace that she's late back to Nonnberg Abbey, where she is a postulant (candidate to become a nun).
Back at the Abbey, evening services have already finished, and the nuns have noticed Maria's absence; Sister Bernice has already looked for her but cannot locate her. The Mother Abbess and a small group of nuns begin to discuss Maria and whether she belongs at the abbey or not; some, like Sister Margaretta (Mistress of Postulants), believe she's worthy of a second chance at the Abbey, while others, like Sister Berthe (Mistress of Novices), are quite tired of her apparent careless antics and feel that she does not belong there. The gathered nuns sing about this dilemma in the second song, "(How Do You Solve a Problem Like) Maria," and Maria herself comes bursting back into the abbey grounds right at the end of the song, perfectly illustrating the problem.
Ridden with guilt over her many failures as a postulant, Maria speaks with her Mother Abbess as soon as she can, to try to make amends and beg for forgiveness. The Reverend Mother, however, wisely understands that even though Maria's wealth of energy and love for freedom and activity may hinder her from being a quiet and studious nun, there is still a place for her to serve God in the world. The abbess has received a request from a Captain von Trapp, who seeks a governess for his seven children until September, and she believes Maria will be just what the von Trapps need.
Maria initially balks at the idea of handling seven kids at first, but soon warms up to it, accepting it as part of the will of God; in the next scene, she leaves the abbey with all her worldly possessions carried with her, singing "I Have Confidence" (more to cheer herself up than anything, especially as she finally sees the towering gates and imposing structure of Captain von Trapp's home).
Meeting the von Trapps
Though she's quite a bit intimidated at first by the home and the formal way she's welcomed inside, Maria takes the initiative and begins to explore around the grand hall and its side rooms. In one, she finds an open space, with a chandelier hung with fabric to keep away the dust and a floor simply meant for dancing...and she gets caught in the act of playful pretend dancing by none other than Captain von Trapp, who is more intimidating than the house he resides in.
With this shaky first impression, Captain von Trapp sets about introducing Maria to his children in his typical militaristic fashion--he calls them downstairs with a whistled signal, lining them up like soldiers before her. Only Brigitta, the middle daughter, is missing; she strolls in late reading a book (not unlike Maria), and receives a swift pop before falling in line with her siblings. Each of the children is called forward with their own whistle signal, crisply stating their names.
To her credit, Maria has taken most of this in stride. But when the Captain suggests that not only will she have to use these signals to call each of the kids, but that she herself will have to respond to a signal, she politely rejects it, saying, "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." The Captain is a bit surprised at this, but adapts with grace.
After being all but put on trial by the Captain, Maria now faces the judgment of the seven children, who are all up to their old tricks--they have already run off 11 governesses before Maria by playing pranks. The first trick is a frog snuck into Maria's pocket; the second is a pinecone left on her chair at dinner later that day. But instead of running for her beloved hills, Maria deals with the children's misbehavior by first covering for the prank, then throwing the subtlest and most delightful shade ever: "I'd like to thank each and every one of you for the precious gift you left in my pocket today...Knowing how nervous I must have been, a stranger in a new household, knowing how important it was for me to feel accepted, it was so kind and thoughtful of you to make my first moments here so warm and happy and... pleasant." The kids, efficiently guilt-tripped and unable to admit their pranks in front of their father, quickly realize Maria is sweet but not to be trifled with!
A few moments later, a telegram courier arrives with a message for Captain von Trapp, and upon reading it, the Captain announces that he'll be leaving for Vienna. Louisa asks if he's going to visit Baroness Schraeder again, and he affirms that, as well as telling them that he'll be bringing the Baroness back with him to meet the children. They are excited about that, but even more excited about seeing "Uncle Max" again!
Subplot: Liesl & Rolfe
Liesl (the oldest) politely asks to be excused from the table, and then sneaks out to the gazebo in the garden to meet up with Rolfe, her sweetheart, who delivered the telegram. However, there is more to Rolfe than meets the eye--before meeting Liesl, he's already made contact with the von Trapps' butler and asks about "developments" in Germany and Austria, belying his true political leanings and loyalties. But when he's in Liesl's company, he is the consummate gentleman, traditionally-minded, restrained, and orderly in his behavior and thinking. Liesl and Rolfe sing "Sixteen Going on Seventeen" together, even dancing in the gazebo as they hide from the sudden rain, and right before their enchanted visit comes to an end, Rplfe gives Liesl her first kiss.
Meanwhile, Maria is getting ready for bed, and Frau Schmidt (the housekeeper) arrives with fabric meant for Maria to make new dresses out of. Maria wants to also make the children some play clothes, but Frau Schmidt warns her that the idea will not go over well with Captain von Trapp. Schmidt also mentions in passing a few other interesting tidbits: one, new drapes have been ordered for Maria's room, two, the Captain's stern, joyless demeanor is rooted in his grief over his wife's death, and three, he is likely to marry Baroness Elsa Schraeder, likely before the summer is over. Thus, Maria now sees her role in the household as a firmly temporary one, preparing the children for their new mother, and begins her prayers in that mindset.
In the middle of Maria's prayers, a rain-drenched Liesl climbs in through the open bedroom window, seeking to sneak in unnoticed...and once she realizes what she's done, Liesl is absolutely sure she's been caught for good this time. However, Maria takes in Liesl's sheepish look (and the condition of her dress) and realizes the young lady only needs a bit of mentoring rather than a lecture, offering Liesl a change of clothes and the use of the bathtub to soak out the stains on the dress. Already the eldest von Trapp daughter is warming up to Maria!
Breaking the Ice
Not long after Liesl's arrival, Gretl (the youngest child) runs into Maria's bedroom, afraid of the thunder and lightning...and soon after, the other five children follow suit. To take their minds off their fear, Maria starts coming up with a list of her favorite things, which becomes the adorable song "My Favorite Things;" soon the thunderstorm is all but forgotten as the kids laugh, play, and sing along. The von Trapp children have officially found out just how fun and kind Maria can be, and she gets swept up in their excitement, too.
But their merriment is cut short by Captain von Trapp, who is none too pleased to see his new governess letting the kids run wild, especially on the eve of his long trip to Vienna. Maria covers for them (including Liesl's whereabouts after dinner), and tries to pitch her idea of play clothes to the Captain, but as Frau Schmidt warns, he's having none of it. (The Captain and Maria are both frustrated with each other at this point--he wishes that she would be more disciplined, as he is, and she wishes he would just loosen up a bit and let the kids be kids.) But after the Captain leaves, Maria gets a fantastic new idea...
Playing, Laughing, Singing, and Teaching
The next scene opens with the 7 children dressed in their new play clothes, made out of the old drape fabric from Maria's room! Together with Maria leading the way, they begin to explore much of Salzburg, from the farmers' market to the riverside, riding the train and running through mountain meadows as Maria so loves to do. Along the way, the children realize they can trust her, and they begin to open up to Maria about why they play pranks (primarily to get their father's attention).
Maria takes this in with grace, right before deciding to teach the children a song to sing for the Baroness when she arrives. However, there's a hitch in her plan--the von Trapp children do not know any songs, nor do they know even how to sing. Their father's strict attitude toward music in the wake of their mother's death has precluded any further study of music. Undaunted, Maria takes on the additional teaching challenge in the energetic and educational song "Do Re Mi (Do, a Deer)".
Her simple music theory teaching spans many days; eventually the children can harmonize and sing in parts as well as unison! And as they enjoy each day outdoors in sunshine and music, they grow closer together as a family, and have the most fun they've had in years.
Meeting the Baroness
Soon enough, it is time for Captain von Trapp to return, and as he drives back toward home, he's bringing Baroness Elsa as well as "Uncle Max" Detweiler, just as promised. The Baroness is glamorous and perfectly put-together, every inch a refined lady, and "Uncle Max" is a charming (and unashamed) opportunist--evidenced by his current search for a "hungry little singing group" he can polish up into the next big musical hit. Beside Baroness Elsa and Uncle Max, Georg von Trapp seems surprisingly happy and in his element, erudite and even a little playful...but he glances up into the trees lining part of the road and notices some very strangely-dressed children playing in the branches, waving at him. He, of course, recognizes his children, but does not acknowledge their rambunctious behavior (or even their identity) to the Baroness--he's clearly not interested in them making a bad first impression.
After they arrive at home, the Captain and Baroness spend some time together in the garden, with its gorgeous view of river and mountain, and we get the first few hints that Georg is not quite happy with the idea of city life and running in high social circles. Baroness Elsa plays it off well, but she is not deceived in the slightest; she knows Georg is happier at home, and also knows that he chooses to visit Vienna (and her) more to escape sad memories than anything. She does want him to define their relationship (as in "are they engaged or aren't they"), but Georg just as deftly avoids the question.
Amid Max's dashes of rather self-absorbed humor into the conversation, Georg notes, with some consternation, that the children are not yet there to greet the Baroness. He goes to seek them, and Max and Elsa talk briefly about whether Georg does intend to marry her or not. Max is interested in seeing Georg and Elsa marry, mostly because he knows Georg is wealthy, but Elsa is not so sure of her status.
Just then, Rolfe arrives on his bicycle, ostensibly delivering a telegram, but he's also there to see Liesl if she's available--he tries getting her attention by tossing a couple of tiny rocks up toward the upstairs window. But Georg catches him at it and demands to know why he's there. Rolfe gives a flustered set of half explanations, ending in a stiff salute of "Heil Hitler!" which does nothing to raise him in Georg's sight. Thankfully, Rolfe delivers his telegram to Max as quickly as he can before being calmly run off by Georg. The three adults obliquely reference what's going on in Germany and Austria--Georg quickly establishes himself as anti-Third Reich, while Max professes not to care either way, and Elsa wisely stays out of the discussion altogether, endeavoring instead to distract Georg.
The almost-romantic moment is shattered, however, by laughter and singing coming from the river; Maria and the children, still dressed in their play clothes, are sailing by in a small boat, completely unaware of the Captain's return. The kids all stand up, overjoyed to see their father--and the boat tips, sending all 8 into the water. What a first impression, indeed!
Though the children are still laughing as they follow their father's orders and come out of the river, that quickly disperses; the Captain falls back into his militaristic way of handling them, and they fall right back into their straight line of order (despite their dripping clothes) as he formally introduces them to Baroness Schraeder.
After the Captain orders the children to go get cleaned up and changed, Maria is about to quietly sneak off with them, but Georg is not about to let her fly under the radar. Elsa excuses herself, sensing the tension and the upbraiding that is to come...and we the audience are not disappointed, as Georg and Maria finally clear the air of their frustrations with each other. Georg holds fast to his principles as Maria bombards him with her trademark honesty, but one little Freudian slip lets Maria know she's gotten to him--when he cuts her final argument off, he addresses her as "Captain" instead of "Fraulein." He wants her to leave immediately...
...but just then, from indoors, he hears the children begin to sing for the Baroness. When Maria tells him that she has taught them some music, and he stops at the doorway to listen, he is quite literally a changed man, and he joins in, singing the words of "The Sound of Music" with a new freedom. The kids stop singing for a moment, shocked, and then begin to sing again, this time harmonizing with him. The song ends with Georg smiling for the first time in a long time, and the children embrace him. Outside the room, Maria looks on but does not try to barge in; she's just been told to pack her things and leave, after all. She turns to go upstairs, but Georg catches up to her, and they both apologize before Georg asks her to stay with them, acknowledging all the good she's done for the children thus far.
The Play-within-a-Play: The Puppet Show
The next scene is a lovely puppet show put on by Maria and the children, telling the fairytale of "The Lonely Goatherd" through song, using the puppet show setup Max has brought with him. (The story is about finding true love through honest expression of talents, which feels not unlike the larger story of Georg and Maria as it is unfolding before us!) Georg, Elsa, and Max are delighted with the show, but Max also sees potential in the von Trapp children as a singing group for the Salzburg Folk Festival. Georg, however, is having none of that idea, saying "My children do not sing in public."
To help redirect the subtle tension in the room, Maria asks the children who they would like to hear a song from next, and they all suggest their father. Though Georg is a little reluctant at first, after the kids encourage him, he does take the proffered guitar from Maria, and then begins to sing "Edelweiss", a simple, sweet folk tune that the kids absolutely adore. Elsa, feeling a bit left out of the music, makes a joking comment to Max about not having brought her harmonica...but she also notices the looks exchanged between Georg and Maria. Aiming to head this flirtation off, she suggests that a grand party be held at the von Trapp home, to "really fill the house with music" (and to cement her social place as Georg's intended).
A Party, a Dance, and a Farewell of Many Sorts
Dancing and stringed instruments fill the room that was once closed off to music and life; elegant ladies and gentlemen waltz around under the gleaming chandeliers, and more people are flowing in from outside, coming into the main room to be greeted by the Captain and the Baroness before joining the dance. It is truly a gala event, involving most of Salzburg's highest social echelons. (However, one of the guests notices the Austrian flag displayed proudly in the home, draped over one banister, and is obviously discontent, mentioning its presence to another party guest...)
Meanwhile, the von Trapp children are content to look on the party from outside in the garden, staying well clear of the adults. The younger children take in the scene, while Liesl plays at dancing with an imaginary partner (whom her siblings well know is Rolfe), and eventually Friedrich and Liesl dance together as well, practicing some of the waltz steps. Maria is pleasantly surprised to learn they can dance--and as the waltz music draws to a close, a new tune begins, one she recognizes as an old Austrian folk dance known as the laendler.
The kids (especially Kurt) want to learn the dance, so Maria attempts to teach what she knows of it, with hilarious results as she and Kurt try out the steps. Georg, however, takes notice, and soon he and Maria are dancing the laendler much more fluidly together as the sweet lilting tune plays. It all seems perfectly enchanted. (Elsa also takes notice of this, with an air of sadness and envy.)
At some point, Maria pauses, nervously saying "I don't remember any more," and the apparent spell is broken; Elsa steps in, with a compliment that also reminds Georg of her presence, and Georg remembers that it's about time for the children to go on to bed. Maria has worked with the kids to present a charming goodnight song to the party guests, and so they gather in the hall to sing "So Long, Farewell", each of the children leaving one by one for the nursery, and the adults answer their innocent farewells with a sung "Goodbye" of their own.
Maria is about to go upstairs with the children, but Max practically demands that she stay and join the party (mostly because he sees how talented she is and wants her to stay close to the family). Maria protests that she's got to change clothes before doing so, and heads upstairs; meanwhile, one of the barons at the party compliments Captain von Trapp's children, and remarks, "is there a more beautiful expression of what is good in this country of ours than the innocent voices of our children?" This question, however, irks Herr Zeller (the guest who took offense at the Austrian flag earlier), and he replies, "Come now, Baron, would you have us believe that Austria alone holds a monopoly on virtue?" The Captain is not about to let that kind of mess be talked in his house; he and Zeller have a verbal exchange which is more like watching a fencing match between their opposing ideologies, especially considering that most of Zeller's words are no longer merely veiled references to the Third Reich.
Meanwhile, upstairs in Maria's bedroom, Baroness Elsa has joined Maria, ostensibly to help her choose a suitable dress for the party. But Elsa's got another motive--to subtly get her rival out of the way. Through her words, she depicts the budding romance between Georg and Maria as natural, but immature, and also hints that Maria's own beauty and affection for Georg is propelling the fantasy along. Maria is horrified--she never meant anything of the sort! To her, this means that her presence is now endangering the Captain's future marriage and the stability of his family. So Maria resolves to leave the household as quickly as possible, to limit the damage she's done, and Elsa, satisfied that Maria will no longer be a hindrance to her plans, leaves the room with a final, subtly shaded remark: "Goodbye, Maria. I'm sure you'll make a very fine nun."
So as Elsa heads back to the party, celebrating her apparent victory with Max before dancing with Georg, Maria packs her meager belongings and leaves a note for the family, slipping out the front door unnoticed, heading back to the Abbey...
The (Sad) Sound of Music
The first scene after the intermission picks up with the children and Elsa playing the most boring game ever in the garden. Max looks on, thoroughly amused at Elsa's failing attempts to be energetic and fun-loving (especially dressed as nicely as she is). Elsa doesn't plan to keep raising the children hands-on, however--she plans to put them in boarding school and be done with it.
The kids are all sad, all missing Maria (though only Gretl voices it), and their singing practice with Uncle Max, singing "The Sound of Music," is more like a dirge than a joyful melody. Georg joins the family soon, but he's back to his crisp, emotionless self, brushing off the kids' questions about Maria with a not-quite-perfect nonchalance. The children, however, are just as astute as their father is, and they know something isn't right, that Maria's explanation of why she left is not the full truth, and that Georg's cheer is false. When Gretl finally asks "who is our new governess going to be?", Georg reveals that Baroness Elsa is going to be their new mother, and there will be no more governesses. Georg's reassurance that "we're all going to be very happy" falls as flat as the children's expressions as they greet their new mother, and even the Captain can't take it after a bit, reacting with irritability. The new reality for the von Trapps is not nearly as wonderful as even Elsa had hoped...
The Abbey as a Hiding Place
Dejected, the children go into the city and visit Nonnburg Abbey, hoping to see Maria; Sister Margaretta regretfully has to tell the children that Maria is in seclusion, not seeing anyone. The children leave, disappointed, and the Mother Abbess and Sister Margaretta talk briefly about Maria's silence and demeanor since she has returned to the Abbey. The Reverend Mother decides to meet with Maria and find out what is behind all of this.
When Maria is finally brought in, dressed again as a postulant, she confesses that she left the von Trapp family because of "confusion," and that she "can't face him again." She admits her feelings toward Georg were and are more romantic than she intended, and that the intensity of these new feelings have terrified her to the point of being ready to take her vows to become a nun.
The Reverend Mother's countering advice is that "the love of a man and a woman is holy, too." She is trying to get Maria to see that she can serve God anywhere with the loving heart she has--Godly service does not have to be within a confining Abbey. Her encouraging song "Climb Ev'ry Mountain" reinforces the point that Maria has to at least face her fears and know her own heart before making such a serious life choice.
Where Are a Few of Their Favorite Things?
Back at the von Trapp home, the children have returned from trying to see Maria, and Georg asks them where they have been, knowing that their excuse of "picking and eating lots of berries" are just that. The kids don't want to upset their father further, so they keep hiding the truth of their visit, and Georg finally decides to call their bluff, saying that if they're so full of berries, they must not be hungry for dinner.
As he goes back into the house, the children discuss the situation among themselves, unhappy over the strained state of things yet feeling powerless to help either Maria or their father. They don't like having to lie about going to visit Maria when it's not even wrong, and their grief over Maria's absence is palpable, tainting everything that's happened since. Eventually, they begin to sing "My Favorite Things" again, to try to cheer themselves up, but the song just isn't the same...
Well, it isn't the same, that is, until a familiar voice joins in!
The kids all run to greet Maria, and the song that had been so wistful and sad overruns with joy. Maria catches up on the latest news (including the sad point Liesl makes about no telegrams being delivered lately), but the children also inform her of Georg's decision to marry Elsa. This visibly floors her, almost as much as seeing Georg standing at the top of the garden steps. Georg allows the children to run inside to dinner at last, leaving the two of them alone outside to speak, and it's clear he's happy but bemused to see Maria returned, not sure what to make of it. When Elsa joins him, pointedly standing next to him, the tension grows even greater. Maria, however, is not about to get in the way of the marriage now that it's officially going forward; when Georg asks if she's going to stay this time, Maria explains that she will stay only till another governess can be arranged. She's gracefully trying to put her own feelings aside for the sake of the family, and almost succeeding.
Truth will Out
The next scene opens on the garden at night, overlooking the river softly lit in the distance; Maria walks alone there, visible from the balcony of the upstairs room, where Georg stands watching her. Elsa joins him, but sees immediately that Georg is not on the balcony to enjoy the view of the countryside. She tries to distract him with lively and humorous conversation, even talking of their upcoming wedding in terms of wedding presents and honeymoons...and then Georg just stops her, saying, "It's no use." He confesses to her that he's been dishonest and unfair, the implication being that he's been more pretending love than feeling it.
To her credit, Elsa accepts this with about as much grace as possible, admitting that she actually doesn't feel that Georg is the right man for her despite being very "fond" of him. He just doesn't need her as much as she'd like, and he's more at home in Salzburg than he would ever be in Vienna with her, too. So now she is the one resolving to pack her bags and return home...but not without first glancing down toward the garden and saying, "Somewhere out there is a young lady, who I think...will never be a nun." Her meaning is clear--she's not been deceived for one moment about the nature of Georg's feelings for Maria. It's just that now she realizes she is the one interfering, and chooses to gracefully bow out.
The Sweetest Confession Ever Heard
Alone in the garden, near the gazebo, Maria is seated on a bench, thinking hard, when Georg appears. She's not sure how to take his visit at first, not knowing of the development between him and Elsa, but they speak for a little while, both of them slowly becoming more honest with each other about their feelings. Georg finally admits, "Nothing was the same when you went away, and it'll be all wrong again after you leave." When Maria replies that the Baroness surely would be able to make things fine for him, Georg simply answers, "There isn't going to be any Baroness." Amid Maria's confusion, he explains the broken engagement, and says, "You can't marry someone when you're in love with someone else, can you?" Then, finally, as realization dawns on Maria's face, they share their first kiss, and more importantly, their first full confession of their true feelings for each other, framed in the doorway of the gazebo.
The relief they both find in this wondrous honesty floods both of them; neither of them know quite how to wrap their minds around this magical new feeling, echoed and illustrated beautifully by their duet "Something Good". Georg admits, mid-song, that he first started loving Maria when she sat on the "ridiculous pinecone," while Maria admits she "knew the first time [he] blew that silly whistle," and they laugh over the sweet simple moments that first brought them together. Only one thing stands in the way of their marriage now--asking the children if they approve...and given that the next scene opens with church bells ringing and the nuns helping Maria put on her veil, we know how they answered. The children even make up the wedding party, the girls serving as bridesmaids and flower girls, and the boys helping to ring the bells! The nuns look on as Maria is married in the abbey she once longed to serve God in, having finally found the answers she sought...
Another Challenge Awaits
...but the joyous bells of Maria's wedding day give way to a grim tolling, the cause of which is evident in the Nazi flag displayed on one of the city buildings in the next scene. Herr Zeller, now the gauleiter of Salzburg, arrives at the site of the Salzburg Folk Festival to speak to Max during rehearsals; Zeller is most upset about Captain von Trapp's house not flying the Nazi flag, and demands to know when von Trapp will return. Max deftly covers for the Captain, saying that he is on his honeymoon and has not been in touch since he left, which means that any decisions about the flag are not the Captain's fault. Zeller buys that, at least, but still insists that upon von Trapp's return, he will be "expected to fulfill his proper position in the new order" (working for the Nazis against his own country).
This is a bitter pill to swallow, especially since it's being done right in front of von Trapp's own children, but Max diverts the topic by thanking Zeller for allowing the Salzburg Folk Festival to continue despite the Nazi takeover. Zeller's response is chillingly blase: "Why should it not go on? Nothing in Austria has changed. Singing and music will show this to the world. Austria is the same."
After Zeller leaves, the children begin to ask questions about what's going on and whether their father is in trouble. Max's answer is typical for him, advocating "getting along with everyone" (rather than speak up in defense of Austria, as the Captain has been doing), and it is not much comfort to the kids--they're still excited about singing, but it's evident that the political strain and tension are wearing on them, too.
They're about to get in the car and leave for home, when someone calls Liesl's name...Rolfe, still carrying telegrams! She's delighted to see him after such a long time, but he's now "occupied with more important matters," including the matter of her delivering an urgent telegram from Berlin to her father when he returns home. It's clear Rolfe's sympathies and loyalties have now crystallized into official work for the Nazis, and Liesl is left stunned by the brusque way he treats her.
A Not-So-Triumphant Return
Meanwhile, at the von Trapp home, Georg and Maria have just arrived home, and Georg quickly dispenses with the Nazi flag hung over his front door just before Max and the children drive in. Georg is just as unhappy with the news that his children are going to sing for the folk festival; Max kinda sorta decided that without permission. When Max tries to argue that "it's for Austria" and says that at least the Nazi takeover was peaceful, Georg cynically replies, "There IS no Austria," and cannot believe Max could say anything good about the Nazis.
Amid the tension between Georg and Max, Liesl remembers to hand her father the telegram Rolfe gave her, and he takes it before going into another room. Max advises Maria to try to convince Georg to get along better with the Nazis, but she politely refuses, saying, "I can't ask him to be less than he is." Max's main concern is being able to have the children sing at the festival, but he's slowly realizing that Georg's strong position may indeed jeopardize the family's safety, too.
Maria and Liesl are left on their own now, and they begin to talk more as mother and daughter would, with Liesl asking for advice about "when you stop loving someone...or he stops loving you." Maria responds with assurances that Liesl will eventually have the wisdom to seek real love of her own, as they sing a reprise of "Sixteen Going on Seventeen" with new lyrics--and the song ends with Maria advising, "Darling sixteen going on seventeen, wait a year or two."
A "Request" He Can't Refuse--Or Accept
There's not much time to enjoy this, however, before Georg asks to see Maria in private concerning the telegram. It seems he's been "requested" to join the Third Reich's navy and is supposed to report to Bremerhaven in the morning. Both Georg and Maria know full well the request is more like an order, so they cannot refuse it, but to accept the order would force Georg to work against the country he loves so dearly. Together, the couple form a plan instead--Georg asks Maria to get the children ready but not to worry them, while he makes arrangements to quietly leave the country.
Later that evening, the nine von Trapps (plus Max), dressed in their traveling clothes, slowly push the family car out of its parking into the front roundabout, trying not to draw attention to themselves by causing an audible disturbance. They open the front gates, unaware they are being observed by their butler, and push the car out into the driveway--only to be caught literally in headlights. Herr Zeller and several other Nazi officials were camped there waiting in their own cars!
Though clearly suspicious, Zeller doesn't accuse the Captain openly of trying to escape, which leaves Georg some wiggle room to invent the excuse of car trouble. The matter of the unanswered telegram from Berlin, however, is a bit more thorny; Zeller's knowledge of its contents reveals that the Nazis know just about everything that goes on in Austria, which nettles Georg even more. But the folk festival, which had been a point of contention for Georg, now provides a convenient excuse for why the family is leaving the house together, AND provides a cover story for why he cannot accept the navy commission this evening. Max provides a convenient program for Zeller to look at, and Maria explains away their obvious traveling attire as their stage costumes for the festival, effectively strengthening their excuse. Thankfully, Zeller allows them to get away with this, but he is confident that von Trapp will not be able to avoid Berlin's "request;" he magnanimously offers to "escort" them to the festival, saying that their singing at the festival "will demonstrate that nothing in Austria has changed."
"So Long, Farewell," Indeed
At the folk festival, Nazi guards look on from every level as the von Trapps perform their musical numbers, reprising an extended choral version of "Do Re Mi"...and then, Georg picks up a guitar and reprises "Edelweiss," standing alone in the spotlight. But this time, his simple song of a flower "blessing his homeland forever" means so much more, especially on the eve of being drafted into a regime he despises. (Herr Zeller, seated on the front row to keep an eye on the family, is visibly annoyed at seeing that Captain von Trapp can actually sing, as well as hearing the clearly nationalistic message he's singing.)
Overcome with emotion, Georg's voice fades away in the middle of the song, and Maria takes up the melody, joining him in the spotlight and beckoning the children to come as well. Soon the whole auditorium is singing, ringing with national pride and an unbroken spirit. Yet even though Zeller is even more agitated, he's still confident that all Georg can do is obliquely sing about his discontent.
As the von Trapps smile amid the thunderous applause, Max approaches them, ostensibly congratulating them, while he whispers, "I think it will work. I shall miss all of you--I shall miss the money I could have made with you." Then, as emcee of the evening, he announces that the Folk Festival competition has come to an end, but the judges still need a little more time to decide--thus, the von Trapps will perform an encore number of "So Long, Farewell," since it will be the last time Captain von Trapp can sing with his family before being commissioned for service to the Third Reich.
Among murmurs of dismay from the audience, Max reintroduces the von Trapps, and they begin to sing an edited reprise of "So Long, Farewell," the fond words now carrying a sad new double meaning. This time, the children leave two at a time, ending with Georg, Maria, and Gretl filing off-stage as more applause greets them. Ever the showman, Max calls out the judges' decisions for the winners of the folk festival, taking an appropriate amount of time for each winner as they ascend the side stairs, receive their prize, and go back down. But when it's time to call for the first prize winners--who are the von Trapps, naturally--no one comes up the stairs. The fanfare sounds once, and once again, with Herr Zeller growing ever more aggravated, until a Nazi guard comes running down the side hall and exclaims, "They're gone!" Max can't help a little triumphant grin
A Fateful Decision
The Nazi officers quickly mobilize, and the first place they look is at Nonnburg Abbey, because of Maria's ties there. The Reverend Mother rushes to hide them, the family disappearing behind a door at the back of the abbey, heading up to the cemetery. Meanwhile, Sister Berthe takes considerable time to unlock the front gate, buying them precious time to hide.
In the cemetery, the Mother Abbess hides the von Trapps in a gated-off section, where they can take shelter behind some tall memorial markers. But the Reverend Mother has just heard that the borders of Austria have now been closed, so their getaway by car (even using the abbey's caretaker's car) seems pointless. Georg, staring toward the mountain range in the distance, decides instead to drive up into the mountains and go over them by foot to escape, even though Maria worries about the children's ability to endure it. There is not much time to discuss it, because the officers are getting closer; the Reverend Mother offers one last bit of encouragement, and then locks the gates behind them as they hide behind the monuments.
Not a moment after they've hidden, the officers come into the cemetery, armed with flashlights to search each tombstone. The family remains quiet, even as the officers rattle the locked gates and shine flashlights around each large memorial. Unable to find anything, the officers audibly plan to search the roof, and it seems all the danger is past...until one of the officers' faces comes into view, revealing his identity--Rolfe. Liesl gasps, and Rolfe hears her; instead of shouting out, however, he ducks behind a smaller tombstone and waits.
When all seems to be quiet, the family begins to emerge from behind the monuments, and Rolfe catches them in the beam of his flashlight. Liesl begs him not to say anything, but he gets out his whistle, about to alert his superiors. Georg unlocks the gates, intent on stopping Rolfe, but the young officer pulls a gun, making Georg stop where he is. He tells Maria and the children to go on ahead; Rolfe reassures him, as Maria and the children head down the stairs, that the officers only want him, not his family.
Once Georg's family is safely away, Georg begins to approach Rolfe, with the latter threatening him with every step; Georg doesn't believe Rolfe will shoot, nor does he believe Rolfe is truly a Nazi. He even invites Rolfe to come along with his family, knowing the connection he's had to Liesl. As Georg draws closer, Rolfe trembles more and more, knowing what he should do as an officer but not able to pull the trigger...and at last, Georg disarms Rolfe, with an enviable steadiness. Once the gun is safely in his possession, Georg says, softly, "You'll never be one of them." Rolfe, strengthened by indignance and insult, cries out for the lieutenant, and Georg heads down the stairs, joining his family in the caretaker's car and driving away.
The officers scramble out of the abbey and into their cars to pursue the von Trapps, but the officers' cars, strangely, will not start. Sisters Berthe and Margaretta, standing at the front gates watching with the Reverend Mother, both admit they have sinned, and when the Mother Abbess asks what their sin is, they each reveal a car part, previously hidden in the folds of their robes, which prevents the officers from being able to start their cars.
Climb Every Mountain (to Escape)
As a choral reprise of "Climb Ev'ry Mountain" plays, the nine von Trapps hike up the side of the mountain on foot, the older children carrying the little ones, every step bringing them closer to safety and freedom.