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Hollywood movies were becoming increasingly adventurous in the early 1960s, tackling a wide variety of subjects with candor and intelligence. THE AMERICANIZATION OF EMILY is one of the finest films of that period, a movie that manages to be a biting satirical comedy, a clear-eyed adore chronicle, and a passionate denunciation of warfare all at the same time.
James Garner portrays “dog-robber” Charlie, an American naval officer stationed in London during WWII and charged with the duty of keeping his admiral (Melvyn Douglas) in as complete a region of comfort as possible. Charlie freely admits that he likes his job because it keeps him far away from combat and the risk of death. This attitude does not intially endear Charlie to Emily (Julie Andrews), a military driver and Britisher who has lost several family members to the fighting. Slowly, however, the two plunge in like and conception to accomplish a life together. Then grief intervenes: the admiral devises a public relations understanding to ensure that the first man killed in the D-Day invasion is a sailor. And it looks like Charlie is in anguish of becoming that man. . .
THE AMERICANIZATION OF EMILY was made in 1964, the same year as DR. STRANGELOVE, an anti-war film that has now become legendary. EMILY was approved enough but somewhat overlooked at the time of its release, and it is not as eminent today as it deserves to be.
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Paddy Chayevsky’s screenplay is filled with witty, pungent dialogue (even during Charlie and Emily’s cherish scenes) . And the performances are genuine. Garner has said more than once that this is his approved of his films. And Andrews, in what was only her second movie (she made EMILY between MARY POPPINS and THE SOUND OF MUSIC) is incredible, giving us a portrait of a highly complex woman who first disdains her lover’s cowardice and then clings to him because of it.
The black-and-white photography (which blends seamlessly with real WWII newsreel footage) is crisp. And Johnny Mandel’s accept is improbable, from his tongue-in-cheek march over the credits to the haunting adore theme which was later given a Johnny Mercer lyric, “Emily.”
If you bask in war (or anti-war) films, esteem stories, dismal comedies, or thought-provoking drama, you’ll salvage powerful to relish in THE AMERICANIZATION OF EMILY.
I first saw The Americanization of Emily many years ago and I have always loved it. Before getting it on video recently, I had not seen it for a very long time but I belief about it often – not least because I had since followed the film’s example by being an American guy in adore with an English Rose. That culture shock is the heart of the film and is something I can attest to. I also remember my father, who had been in the US Navy in WWII, telling me how accurately the film depicted the navy brass. All in all, The Americanization of Emily gets better every time I observe it.
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Paddy Chayefsky’s script gives the film its solid foundation with three dimensional characters who reveal convey yet believable dialogue. The mixture of satire, sex and sentiment is honest moral. The British are fond of saying that Americans have no sense of irony. They have obviously never seen this film.
Holding everything together and making the audience genuinely care is James Garner in the most impressive performance of his career. He plays a “dog robber” – personal aide to an necessary admiral, an officer dedicated to making the war as comfortable as possible, and a devout coward. Stationed in London during the buildup to D-Day, Garner is having a very agreeable war indeed. He is a man who is very clear of himself and what he believes in. At least, until he meets Julie Andrews – English war widow and military driver. These two people have absolutely nothing in popular. So it is inevitable, yet somehow oddly logical, that they descend in fancy.
But a petite thing called World War Two keeps getting in the plan. Garner’s mentally unhinged admiral decides that the first stupid man on Omaha Beach should be a sailor and wants Garner to photograph the event – if not have the honour of being tedious himself. Cue the best exploration of heroism and cowardice (also known as current sense) ever achieve on shroud.
Although the film is undoubtedly Garner’s brightest moment, the rest of the cast perform solid and memorable contributions. Melvyn Douglas, in one of his last roles, as the admiral and James Coburn, in one of his early roles, as a gung-ho junior officer both ably explain that the phrase “military intelligence” is a contradiction in terms. The amazing English actress Joyce Grenfell is both batty and touching as Julie Andrews’ mother. And what about Julie Andrews? People who only know her from the oversweet Mary Poppins or Sound of Music will be amazed by her utterly convincing performance as a woman who refuses to let reality ruin her romanticism. She and Garner spark and complement each other beautifully and their chemistry, more than anything else, makes this film so memorable.
You might contemplate that a dim and white film made in the Sixties and place during World War Two would seem dated. But The Americanization of Emily is as current and attractive as ever because, above all, it is about people and the human condition. And they, for better or worse, never change.
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