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Americanization of Emily is not an anti-war or pacifist film. Its position is anti- glorification of war or heroism. Chayefsky himself was a war hero and awarded a Purple Heart. His position on war is stated clearly by the James Garner character in the amazing garden scene with Emily and her mother, who has been driven mad with grief over the loss of her husband, son-in-law, etc. in the war. Emily takes Charlie's cowardice and throws it back at him. The film was unavailable for years since the widow of the author of the book on which it is based held the copyright and would not release it for DVD. It is finally available for a new generation, and the ideas are still timely and valid. The theme song, Emily, is a jazz classic that has become better known than the film itself.

This excellent film combines humor and drama in ways I've never seen before. Far from heavyhanded in either department, its notable trait is a kind of circular irony that runs through the film, becoming even more profound in the film's final scenes. Garner plays a man whose ideal is cowardice and self-service. Face dfinally with having to become and official "hero" and wanting no part of it, he has to realize that to be true to himself he has to play this role -- the nobility of any grand gesture of honesty in his cowardice would be too utside of his character! Andrews is magnificent and more sexy than usual as Emily, a girl afraid to have any man who's not a coward! No sentimentality, just good old dark irony. Very well written. Good film!

There can be no Paddy Chayefsky without comedy, nor can there be without drama. His work is always serious, channeled with humor, but his presentation is so on-point, so honest, so blatant, that as viewers we are forced to soak it all up, and we are left the better for it.

Set in wartime, the Americanization of Emily looks at changing times in a very changing world. The ‘balloon will go up' any day now, signaling the Invasion of Europe and all around will be forever changed.

It is not solely the warriors, the decision makers, that are central to the battle. Chayefsky knows that, and shows us that war will change all it touches, from the simple Emily (Julie Andrews), a kind, intelligent, sensitive single English woman to the devil-may-care ‘scrounger', Lt Cmdr Charles Madison (James Garner-somewhat a reprise of his role in The Great Escape).

This movie is a romance, and a serious examination of people over-matched by forces outside their control, who struggle to do everything in their control to find their way.

A well-told story, skillfully delivered. It's hard to ask for much more than that.

For those of today's fans who think Julie Andrews made her film debut in Mary Poppins, they would be wrong. After leaving Camelot on Broadway, The Americanization of Emily was the vehicle with which Julie made her debut. And she sings not a note.

She didn't have to. Beneath all the comedy revolving around the scheming and conniving of James Garner to stay as far away from the hail of bullets as possible are some profound statements about the futility of war and the geopolitics that got the USA in that particular war.

James Garner is in a quintessential James Garner role as set down by Bret Maverick, the part that made Garner a star. He's a "dog robber" a military aide to an admiral who specializes in acquiring certain creature comforts for his boss. Garner became one after serving some combat in Guadalcanal and finding it not to his liking. Fortunately for him, he had the connections to get out of that situation unlike several thousand others. Not a very admirable man.

But despite herself, stiff upper lip Britisher Julie Andrews finds herself falling for him. There's is one rocky romance.

Through a combination of circumstances Garner finds himself going to the front on D-Day to film the Naval Engineers disabling the mines in the water at Normandy Beach. Once again, it's not to his liking.

Garner and Andrews get good support from the supporting cast consisting of James Coburn, William Windom, Joyce Grenfell and Melvyn Douglas as the battle fatigued admiral who's Garner's boss and who got him in the situation described.

One of my favorite scenes involves two sailors, Keenan Wynn and Steve Franken who get assigned to Garner to make the film. The three of them get cockeyed drunk and Garner's immediate superior James Coburn finds them in a state of uselessness. He has them hauled aboard the transport with the cargo.

One of the great things this film had going for it was the Henry Mancini-Johnny Mercer title song of Emily. They were a hot combination of movie song writers then, having one back to back Oscars for Moon River and Days of Wine and Roses. Frank Sinatra, Jack Jones, and Andy Williams are some of the artists who recorded that song back in 1964.

I can't give the ending away, but let's say that Garner through a bit of sophistry winds up doing exactly what he said he never would. But then again as Garner says, he's not interested in some great philosophical truth, just the momentary fact of things. He and Julie Andrews together are what counts most.

Think of Network or The Hospital, Paddy Chayefsky was seeing into the future and what he saw was ugly. Here we have an insane admiral and how his men, who know he's crazy, stand in line to follow his wishes/commands. An anti war film without sentimentality. Julie Andrews is a total delight as the tough cookie with a razor sharp mind. James Garner has the best lines of his career. His tea with Joyce Grenfell is a superb written scene. Joyce Grenfell as Julie's mother is divine, yes, divine! Melvyn Douglas as the crazy man in charge is the Howard Beale of the situation and what he does with it is pure genius. Highly recommend it.