She is the title character in The Americanization of Emily, a wartime drama that pairs her romantically with James Garner, now upgraded to male lead status due to the success of his television western "Maverick."

Garner plays a cynical aide to an admiral. His job is to keep the brass supplied with black market luxuries and willing young women. Set prior to the D-Day invasion, Garner plans to be safely in England when American soldiers are dying on the beaches of France.

Once the prudish Andrews has been conquered by Garner, she doesn't know what to make of his 'cowardice.' Garner's politically incorrect philosophy believes that victims of war are merely that, and not brave heroes. Andrews' family has been decimated by wartime carnage, and Garner's brother died in action as well. It is easier to regard their deaths as a sacrifice, rather than as a useless statistic.

This somewhat negative philosophy is pushed perhaps too hard by screenwriter Paddy Chayefsky (Network). While many movies are considered anti-war, most depict war rather than merely discussing it. The flaw in Chayefsky's view, of course, is that the occasional territory-hungry dictator must he stopped: Napoleon, Hitler, Tojo.

The Americanization of Emily has surprisingly mature language for a film from 1964, which shows how tattered the Hays production code had become in an era before ratings (G, PG, R, X) had been introduced. "Ass" and "bitch" are in the script, and statements like "I hope I don't get pregnant" are fairly explicit. Unwed sex runs amuck, with Garner's glory-seeking Academy officer, played by James Coburn, getting the best of the action.

Melvyn Douglas, who had won a Best Supporting Actor that year for Hud, plays Garner's admiral. He's an old salt who has a nervous breakdown over the prospect the Navy unrepresented at the D-Day slaugher. Another film from the same year, Dr. Strangelove, also features a mad American military leader, there played by Sterling Hayden.

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