Carrie Underwood has been signed to take on one of the most iconic female roles in cinema history.
The former Idol contestant turned country superstar has been cast to play Maria von Trapp in a live broadcast of The Sound of Music on NBC next Christmas.
On the surface, it sounds like a winner. Underwood has a solid fan base and the film, itself, is a much-loved classic for the older generation. (And yes, I include myself in that group.)
And I’ve heard her rendition of The Hills Are Alive with full orchestra. It’s fabulous.
But this new project leaves me with more questions than answers. The Sound of Music has been airing on television for decades. And each time, the editors manage to cut a little more to make room for commercials.
But I still have clear memories of the film in its entirety.
And I have to wonder: Who’s going to watch it?
For those who grew up with the film, Julie Andrews is, and always will be, Maria von Trapp.
Meanwhile, fans of Underwood who love the sultry songstress with the cocky attitude will be mystified by her choice of role.
As for the younger viewers, would they understand the social context of 1940s Austria amid the Second World War? And try explaining why a woman who wants to be a nun would be sent to work as a nanny. Or better yet, why a woman would want to be a nun.
More importantly, what teen would understand these kids appearing in public dressed in matching outfits made out of curtains?
And the music, while beautiful, is not what most young viewers expect to hear when they turn on their flat screen. The dancing is old school – it is a period piece, after all – and there isn’t a single rap verse or f-bomb to be bleeped out.
Truly, the only reason to remake a hit film is to update it for current audiences. However, this story is based on an actual family.
Changing the story even more than Hollywood already did in the first go-around would be disrespectful – not to mention the potential problem with the film rights.
Then there’s the idea of messing with an entertainment treasure. Changing the classic tunes or storyline could send a director to Hollywood purgatory.
Hopefully, they’ve learned something from the recent negative reaction to Broadway’s updated and more politically correct Porgy and Bess.
So who will this remake attract? Some good marketing and a play on Underwood’s popularity, and viewers will likely set their PVRs in anticipation.
However, will they watch beyond the first half-hour?
Why not skip the remake and give us back the original – this time, without all the nips and cuts that have tightened the film such that it resembles an aging Hollywood star with a few too many facelifts. Now that would be the perfect gift for next Christmas.
