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I first saw the movie The Sound of Music as a young child, probably in the late 1960s. I liked the singing, and Maria was so pretty and kind! As I grew older, more aware of world history, and saturated by viewing the movie at least once yearly, I was struck and annoyed by the somewhat sanitized story of the von Trapp family it told, as well as the bad 1960s hairdos and costumes. "It's not historically accurate!" I'd protest, a small archivist in the making. In the early 1970s I saw Maria von Trapp herself on Dinah Shore's television show, and boy, was she not like the Julie Andrews version of Maria! She didn't look like Julie, and she came across as a true force of nature. In thinking about the fictionalized movie version of Maria von Trapp as compared to this very real Maria von Trapp, I came to realize that the story of the von Trapp family was probably something closer to human, and therefore much more interesting, than the movie led me to believe.
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Part of the story of the real von Trapp family can be found in the records of the National Archives. When they fled the Nazi regime in Austria, the von Trapps traveled to America. Their entry into the United States and their subsequent applications for citizenship are documented in the holdings of the National Archives and Records Administration.
The family lost most of its wealth through the worldwide depression when their bank failed in the early 1930s. Maria tightened belts all around by dismissing most of the servants and taking in boarders. It was around this time that they began considering making the family hobby of singing into a profession. Georg was reluctant for the family to perform in public, "but accepted it as God's will that they sing for others," daughter Eleonore said in a 1978 Washington Post interview. "It almost hurt him to have his family onstage, not from a snobbish view, but more from a protective one." As depicted in The Sound of Music, the family won first place in the Salzburg Music Festival in 1936 and became successful, singing Renaissance and Baroque music, madrigals, and folk songs all across Europe.
This record of aliens held for special inquiry, dated October 7, 1939, notes that the family was to clear up confusion about the von Trapps' status. (Records of the Immigration and Naturalization Service, RG 85)
In the early 1940s the family settled in Stowe, Vermont, where they bought a farm. They ran a music camp on the property when they were not on tour. In 1944, Maria and her stepdaughters Johanna, Martina, Maria, Hedwig, and Agathe applied for U.S. citizenship by filing declarations of intention at the U.S. District Court in Burlington, Vermont. Georg apparently never filed to become a citizen; Rupert and Werner were naturalized while serving in the U.S. armed forces during World War II; Rosmarie and Eleonore derived citizenship from their mother; and Johannes was born in the United States and was a citizen in his own right.
Georg died in 1947 and was buried in the family cemetery on the property. Those who had applied for citizenship achieved it in 1948. The Trapp Family Lodge (which is still operating today) opened to guests in 1950. While fame and success continued for the Trapp Family Singers, they decided to stop touring in 1955. The group consisted mostly of non-family members because many of the von Trapps wanted to pursue other endeavors, and only Maria's iron will had kept the group together for so long.
The von Trapps never saw much of the huge profits The Sound of Music made. Maria sold the film rights to German producers and inadvertently signed away her rights in the process. The resulting films, Die Trapp-Familie (1956), and a sequel, Die Trapp-Familie in Amerika (1958), were quite successful. The American rights were bought from the German producers. The family had very little input in either the play or the movie The Sound of Music. As a courtesy, the producers of the play listened to some of Maria's suggestions, but no substantive contributions were accepted.
How did the von Trapps feel about The Sound of Music? While Maria was grateful that there wasn't any extreme revision of the story she wrote in The Story of the Trapp Family Singers, and that she herself was represented fairly accurately (although Mary Martin and Julie Andrews "were too gentle-like girls out of Bryn Mawr," she told the Washington Post in 1978), she wasn't pleased with the portrayal of her husband. The children's reactions were variations on a theme: irritation about being represented as people who only sang lightweight music, the simplification of the story, and the alterations to Georg von Trapp's personality. As Johannes von Trapp said in a 1998 New York Times interview, "it's not what my family was about. . . . [We were] about good taste, culture, all these wonderful upper-class standards that people make fun of in movies like 'Titanic.' We're about environmental sensitivity, artistic sensitivity. 'Sound of Music' simplifies everything. I think perhaps reality is at the same time less glamorous but more interesting than the myth."
Examining the historical record is helpful in separating fact from fiction, particularly in a case like the von Trapp family and The Sound of Music. In researching this article, I read Maria von Trapp's books, contemporary newspaper articles, and original documents, all of which clarified the difference between the von Trapps' real experiences and fictionalized accounts. My impression of Maria from Dinah Shore's show was the tip of a tantalizing iceberg: the real lives of real people are always more interesting than stories.
While the von Trapps' story is one of the better known immigrant experiences documented in the records of the National Archives and Records Administration, the family experiences of many Americans may also be found in census, naturalization, court, and other records.
Readers looking for a first-hand account of the family's story should consult Maria von Trapp's The Story of the Trapp Family Singers (Philadelphia: Lippincott, 1949) and her autobiography Maria (Carol Stream, IL: Creation House, 1972).
The Addams Family is a fictional family created by American cartoonist Charles Addams. They originally appeared in a series of 150 standalone single-panel comics, about half of which were originally published in The New Yorker between 1938 and their creator's death in 1988. They have since been adapted to other media, such as television, film, video games, comic books, a musical, and merchandise.
The Addamses are an odd, old-money clan who delight in the macabre and are seemingly unaware or unconcerned that other people find them bizarre or frightening. The family members were unnamed until the 1960s. Matriarch Morticia and daughter Wednesday received their names when a licensed doll collection was released in 1962; patriarch Gomez and son Pugsley were named when the 1964 television series debuted.[1] The Addams Family consists of Gomez and Morticia Addams, their children, Wednesday and Pugsley, and close family members Uncle Fester[b] and Grandmama,[c] their butler Lurch, and Pugsley's pet octopus, Aristotle. The dimly seen Thing (later a disembodied hand) was introduced in 1954, and Gomez's Cousin Itt, Morticia's pet lion Kitty Kat and Morticia's carnivorous plant Cleopatra in 1964. Pubert Addams, Wednesday and Pugsley's infant brother, was introduced in the 1993 film Addams Family Values.[d]
The franchise has spawned a video game series, academic books, and soundtracks which are based around its Grammy-nominated theme song. A staple in pop culture for eight decades, The Addams Family has influenced American comics, cinema and television; some attest that goth subculture and its fashion have also been influenced by The Addams Family.
The first Addams Family cartoon was published in 1938, in a one-panel gag format. Charles Addams became a regular contributor to The New Yorker, and drew approximately 1,300 cartoons between then and his death in 1988. 58 of these would feature the Addams Family, almost all of which were published in the 1940s and 1950s. Members of the family were introduced one by one, with Morticia first, Gomez (based on Thomas E. Dewey) joining four years later, Pugsley, and finally Wednesday and Fester shortly after. Addams indicated that Fester resembled himself, "plus a little more hair."[6] A Christmas 1946 strip, showing the family pouring boiling oil on carolers, was well received and was later sold on Christmas cards.[8] Outside of The New Yorker, Addams also published several collections, the most notable being Dear Dead Days: A Family Album in 1959. The family members were initially not named; Wednesday was first given a name in 1962 for a licensed doll collection, while the others were named during the development of the television series in 1963.[9] The editor of The New Yorker, William Shawn, prevented any further Addams family cartoons from being printed after the 1964 launch of the television franchise.[9]
Science fiction writer Ray Bradbury created a series of tales chronicling a family of Illinois monsters, the Elliotts, that bear a strong resemblance to the Addams family. These stories were anthologized in From the Dust Returned (2001), with a connecting narrative, an explanation of his work with Addams, and a 1946 illustration Addams drew for Bradbury's short story "Homecoming" in Mademoiselle magazine, the first in the Elliot family series.
The sudden cancellation in 1966 also brought issues for Charles Addams, as he faced a sudden drop in income with the show no longer in development, the rights to future television and film adaptations were owned by his second wife Barbara Barb following their divorce,[11] and Shawn would not allow any further strips to be printed in The New Yorker. He became bitter towards the magazine "for disowning his family".[8] Barb would ultimately remain in possession of adaptation rights until she sold it to allow the development of the 1991 film.[10] The franchise remained in the popular consciousness even after the series concluded, with the "Lurch" dance move remaining popular through the 1960s. The television series was often re-run through television syndication for years afterward, particularly in Australia. 006ab0faaa
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