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The Americanization of Emily (1964)

Approved | | Comedy, Drama, War | 27 October 1964 (USA)
An American naval officer's talent for living the good life in wartime is challenged when he falls in love and is sent on a dangerous mission.

Director:

Writers:

(screenplay), (novel)
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Nominated for 2 Oscars. Another 4 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
...
...
...
Joyce Grenfell ...
Mrs. Barham
...
Adm. Thomas Healy
Liz Fraser ...
Sheila
...
Old Sailor
...
Capt. Harry Spaulding
...
Chief Petty Officer Paul Adams
Douglas Henderson ...
Capt. Marvin Ellender
Edmon Ryan ...
Adm. Hoyle
...
Young Sailor
Paul Newlan ...
Gen. William Hallerton
...
Lt. Victor Wade
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Storyline

During the build-up to D-Day in 1944, the British found their island hosting many thousands of American soldiers who were "oversexed, overpaid, and over here". That's Charlie Madison exactly; he knows all the angles to make life as smooth and risk-free as possible for himself. But things become complicated when he falls for an English woman, and his commanding officer's nervous breakdown leads to Charlie being sent on a senseless and dangerous mission. Written by Anonymous

Plot Summary | Add Synopsis

Taglines:

Why did Emily call Charlie the most immoral man she'd ever met? See more »

Genres:

Comedy | Drama | War

Certificate:

Approved | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

27 October 1964 (USA)  »

Also Known As:

Emily  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Westrex Recording System)|

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

According to screenwriter Joe Eszterhas's 2004 autobiography "American Animal", producer Martin Ransohoff removed director William Wyler from the picture as Wyler wanted to change Paddy Chayefsky's script. It was a rare instance in which a producer supported a screenwriter over a director, particularly one of Wyler's caliber. As Chayefsky was known to have guarantees written into his contracts protecting his scripts, Ransohoff may have had no choice but to replace Wyler with Arthur Hiller. See more »

Goofs

When the Admirals were drinking heavily in the hotel room they reflected on their days at Annapolis when they were called "Naval Cadets" instead of "Midshipmen." Annapolis students were called "Naval Cadets" from 1888 to 1902 when these senior officers were likely enrolled. See more »

Quotes

[first lines]
Lt. Cmdr. Charles E. Madison: Hi, Harry. It'll only be a few moments, sir. Put that hand luggage in the automobile. Paul? Paul!
Chief Petty Officer Paul Adams: Yeah.
Lt. Cmdr. Charles E. Madison: Put the footlocker in the jeep. Everything else goes in the two-and-a-half. Unloading shouldn't take long, so you won't be more than a few minutes behind us. I'll see you back at the hotel. Harry. Is everything set at the hotel?
[Slaps driver on butt]
Female driver, unidentified: Hiya, Charlie.
See more »

Crazy Credits

The three women that James Coburn sleeps with are collectively credited as "The Three Nameless Broads (in order of appearance)". See more »

Connections

Referenced in WKRP in Cincinnati: The Americanization of Ivan (1980) See more »

Soundtracks

Emily
Music composed by Johnny Mandel
Lyrics by Johnny Mercer
See more »

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User Reviews

 
Overlooked Gem Looks Angrily and Wittily at the American Military Propaganda Machine
2 May 2006 | by (San Francisco, CA, USA) – See all my reviews

Masterfully scripted by Paddy Chayefsky, this 1964 anti-war film is not quite a classic but nonetheless an unexpected treat and one that deserves resurrection by a new generation of viewers. Set in WWII London, the dark hearted plot focuses on Navy Lieutenant Commander Charles Madison, an especially notorious personal assistant to the mentally unstable Admiral William Jessup. Madison's job is to make sure Jessup gets anything he wants, and he has a warehouse full of contraband to back him up. Smug in his self-awareness about his cowardice, he meets Emily Barham, an English war widow who has lost her father and brother as well as her husband to the war. She is repulsed by Madison's manipulative agenda and cavalier materialism, and he finds her priggish and self-righteous. Needless to say, they fall in love. Complicating matters is Jessup's hare-brained scheme to ensure the first casualty of the D-Day invasion on Omaha Beach be a naval man. Without a glimmer of irony recognized, the admiral assigns Madison and his colleague "Buzz" Cummings to find the appropriate sailor and film his heroic death.

The sheer audacity of this task is a hallmark of Chayefsky's vitriolic style, and the film is full of his brittle, observant dialogue and sharply articulate soliloquies. You need an actor of consummate charm and cunning to play Madison effectively, and Garner responds by turning in one of the best performances of his long career. He shows not only his deft comedic touch but also a piercing insight into the integrity that can come from an acknowledged lack of courage. Squeezed in between her twin juggernauts of sugar, "Mary Poppins" and "The Sound of Music", Julie Andrews gives an intelligent, passionate performance as Emily that actually eclipses her acting in either mega-hit. The movie's title comes from her character's resistance to what she sees as cheapening her values by becoming more American. Together, they not only spark romantically but also trade speeches of barbed cynicism making Chayefsky's words fly off the page with supple dexterity.

Screen stalwart Melvyn Douglas is a terrifically befuddled blowhard as Jessup, while an especially energetic James Coburn aggressively turns "Buzz" into a monomaniacal yes-man. Joyce Grenfell is superb in her few scenes as Emily's no-nonsense mother. For interested baby boomers, you can even see future "Laugh-In" regulars Alan Sues and Judy Carne in bit parts, as well as the late Sharon Tate. If there is a weakness to the film, it comes from Arthur Hiller's pedestrian direction making the film more episodic than it should. The 2005 DVD package has a sharp print of the film and includes Hiller's informative commentary on an alternate track. He is understandably proud of the film since his subsequent work ("Love Story", "Making Love") has not even come close to the quality of this production. There is also a short, "Action on the Beach", which shows how the realistic filming of the D-Day scene was executed. It would be interesting to see this film in a double bill with Steven Spielberg's "Saving Private Ryan" to get alternative perspectives on the same event.


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