Freedom in vocation: The Sound of Music (1965)

10/21/24 • 51 min

The Sound of Music is rightly beloved by Catholics. James and Thomas discuss the movie's all-around excellence, break down Julie Andrews's virtuosic performance, and explore what the film says about the freedom and openness necessary to discern and pursue one's vocation in life.

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Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com

DONATE to make this show possible! http://catholicculture.org/donate/audio

Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com

Previous Episode

The Chosen, Season 4: Lectio Divina or Fan Fiction?

The Chosen has now passed the halfway point of its seven seasons. Four seasons in, it is possible to take a big-picture look at the show’s trajectory.

Season four takes us from the execution of John the Baptist to the raising of Lazarus, ending on the verge of Holy Week with the apostles preparing for Jesus’ triumphant entry into Jerusalem. Biblical threads throughout the season include the falling away of Judas, and Jesus’ sorrow and frustration at his disciples’ inability to hear His predictions of His imminent death.

This season still has some of the great moments that have made The Chosen worthwhile, and these scenes are highlighted in the discussion. Jonathan Roumie's performance as Jesus remains the show's greatest strength. Unfortunately, though, the show’s weaknesses have begun to get out of hand, to the point where even its otherwise great moments are significantly undermined.

The first major issue is with the creativity of the writers. At its best, the show has shed new light on moments from the Gospel by noticing small details of Scripture and fleshing them out. Invented backstories for the Apostles served to support and color the Biblical account.

But in season four, the writers seem to be caught up in their own story ideas, so that even the Gospel moments are overshadowed by wholesale invention. Instead of enhancing the viewer’s understanding of Scripture, the show increasingly interprets the Gospel events through the lens of fictional subplots, in a way that is necessarily reductive, necessarily less interesting, and often clumsily executed. One particular fictional plotline is so badly conceived and so distracting from the Gospel that much of season four is genuinely hard to watch.

Another thing consistently undermining the show’s strengths is its busyness, and in particular its tendency to overexplain Jesus’ words from Scripture rather than letting them resonate. This problem is not new, but it stands out all the more in a weak season.

Br. Joshua Vargas and Nathan Douglas join James and Thomas for a deep and entertaining discussion of these and many other aspects of the show.

Links

Thomas's essay on Angel Studios https://www.catholicculture.org/commentary/angel-studios-hype/

Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com

Next Episode

Job and St. Augustine in one film: The Tree of Life (2011)

The Tree of Life may well be the greatest movie ever made. Heavily inspired by the book of Job and St. Augustine's Confessions (and even including some lines about nature and grace seemingly derived from The Imitation of Christ), director Terrence Malick gives profound spiritual and cosmic scope to the story of an ordinary family in 1950s Texas.

The film begins with the death of a son, detours to the creation of the universe, and then flashes back to a richly observed sequence of childhood in all its beauty along with the tragic effects of sin - seen through the memory of a present-day narrator seeking the traces of God in his past.

The greatness of The Tree of Life lies in its unmatched poetic power. Unless you've seen another Terrence Malick film, it will be unlike anything you've seen before. Though it has a story, it is less focused on plot development than on an archetypal yet vivid picture of family life and how we gain, lose, and recover our awareness of "love smiling through all things".

The film does not follow typical rules of chronological or visual continuity (one could say it is almost entirely montage), but its improvisational freedom and fluidity in acting, cinematography, and editing make for a kinetic and exhilarating viewing experience. The portrayal of childhood is surely the most beautiful ever put on screen.

Nathan Douglas joins as guest host in this continuation of our series covering Malick's filmography.

DONATE to keep this podcast going: https://www.catholicculture.org/donate/audio

Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com