The world has lost a consummate actor, we are told, but in a stunning revelation emerging from his decades-long career, Christopher Plummer openly admitted that he could not stand his “Sound of Music” co-star Julie Andrews during the making of the iconic film. The admission, which has resurfaced in interviews and memoirs following Plummer’s death at 91, sheds harsh light on the polished on-screen chemistry that captivated audiences. Plummer, who played Captain von Trapp opposite Andrews’ Maria, confessed that her relentless kindness felt like an assault.
He compared her gentle demeanor to being “hit over the head with a Valentine’s card every day.”
The behind-the-scenes tension stands in stark contrast to the beloved 1965 musical that won five Academy Awards and held the record for highest-grossing film for five years. Plummer’s irritation was not hidden. He reportedly nicknamed Andrews “M.
Disney,” a cutting reference to her pristine image from “Mary Poppins” and the sugary tone he believed she brought to the set. The actor, who struggled with alcohol during production, found her constant warmth almost unbearable. “It was like being flogged with a dead horse,” he later said of his attempts to make the role of Captain von Trapp interesting, but his description of Andrews was more personal.
According to interviews and the transcript of a biographical video detailing their relationship, Plummer’s discomfort stemmed from what he perceived as Andrews’ unrelenting positivity. While the rest of the cast and crew viewed her as angelic, he found her graciousness grating. “She was so kind, so professional – it drove me crazy,” he admitted in a later reflection, acknowledging his own immaturity.
He also felt that her natural rapport with the child actors highlighted their differing temperaments, making him feel like an outsider on the set.
The tension was not one-sided. Andrews, known for her discipline and warmth, was aware of his distance but remained professional. She later recalled that Plummer was “a bit of a brooder” but always a consummate professional.
The rift, however, did not last. Over the decades, Plummer’s resentment softened into admiration. He came to praise Andrews as an incredibly gifted actress and supportive co-star, and the two developed a deep, lasting friendship.
In his memoir “In Spite of Myself,” he wrote of their bond with affection, and Andrews paid tribute to him after his death in February 2021, saying, “The world has lost a consummate actor today, and I have lost a cherished friend.”
Plummer’s admission about Andrews is only one part of his complex relationship with “The Sound of Music.” He famously derided the film itself, calling it “The Sound of Mucus” in a 1966 New York Times interview, a nickname he used repeatedly. He described the script as “awful, sentimental, and gooey,” and lamented how difficult it was to bring nuance to a role he found uninspiring.
Despite that, his performance earned him worldwide acclaim, and he later acknowledged the film’s cultural legacy, though never fully embracing it.
The actor’s distaste for the sugary tone of the film extended to his own behavior on set. He admitted to being drunk for much of the production, particularly during the music festival scene. He often took Charmian Carr, who played Liesl, out for drinks at Austrian bars, despite their 13-year age difference.
His alcohol issues led to weight gain, causing problems with his costumes. The drinking was partly a coping mechanism for a role he found creatively unfulfilling, but it also colored his interactions with Andrews, whom he saw as the embodiment of everything he disliked about the film.
Plummer’s life and career spanned seven decades, earning him the Triple Crown of Acting with Academy, Tony, and Emmy Awards. Born in Toronto in 1929, he began acting in Montreal and made his Broadway debut in 1954. His film debut came in 1958, but it was “The Sound of Music” that made him a household name.
He later won an Oscar for “Beginners” in 2011 and was nominated for “The Last Station” and “All the Money in the World.” His other notable films include “The Man Who Would Be King,” “A Beautiful Mind,” and “Knives Out.”
Julie Andrews, born in England in 1935, rose to fame in “My Fair Lady” and “Camelot” before her film debut in “Mary Poppins,” which won her an Academy Award. She became a beloved icon, but Plummer’s initial disdain for her reveals the human complexity behind Hollywood’s most cherished pairings. The revelation that he “couldn’t stand” her, as the title states, is a shocking counterpoint to the enduring image of the von Trapp family singing “Do-Re-Mi” on an Austrian hillside.
The admission has re-emerged as part of a broader re-examination of Plummer’s legacy following his death. His wife, Elaine Taylor, confirmed that he died peacefully at their Connecticut home after a fall. In the days that followed, many fans revisited his interviews, finding the candor about his feelings toward Andrews both surprising and endearing.
“I was a complete fool,” he said years later, acknowledging his youthful arrogance. “Julie is one of the most remarkable people I’ve ever met.”
Their relationship evolved from professional friction to genuine affection. Andrews herself admitted in interviews that she was initially intimidated by Plummer’s intensity, but they learned to respect each other. The two remained close for decades, often appearing together at events and speaking fondly of one another.
Andrews once said, “Christopher was a true artist, and I’m grateful for the time we shared.”
The story of Plummer’s admission is a reminder that even the most beloved films have behind-the-scenes dramas that defy the on-screen magic. His candor about his irritation with Andrews humanizes both of them, showing that even icons can clash. Yet, their ability to overcome that friction and build a lasting friendship is perhaps the most heartwarming part of this revelation.
Plummer’s death at 91 closed the chapter on a legendary career, but his words about Andrews will continue to be discussed. In a 2011 interview, he said, “I’ve come to realize how incredibly lucky I was to work with her. She taught me so much about grace and professionalism.”
Andrews, in turn, called him “a cherished friend.” The admission that he once couldn’t stand her now seems like a distant memory, a footnote in a story that ended with mutual love and respect.
For fans of “The Sound of Music,” this revelation adds a layer of complexity to a film that has been a source of joy for generations. It also underscores the transformative power of time and perspective. What began as a clash of personalities eventually became one of Hollywood’s most enduring friendships.
Christopher Plummer’s honesty about his initial feelings toward Julie Andrews is a testament to his character, a man who could admit his flaws and grow beyond them.
As the world remembers his contributions to film, theater, and television, this candid admission offers a glimpse into the man behind the roles. It also serves as a reminder that even the most polished performances can emerge from a place of struggle and discomfort. Plummer’s journey from irritation to admiration for Julie Andrews is a story of personal growth, and it will remain a fascinating part of his legacy for years to come.
