15.The Pink Panther Strikes Again
Julie Andrews, Omar Sharif
Released: 1976
Directed by: Blake Edwards
14.Torn Curtain
Paul Newman, Julie Andrews
Released: 1966
Directed by: Alfred Hitchcock
13.Shrek 2
Cameron Diaz, Eddie Murphy
Released: 2004
Directed by: Kelly Asbury, Andrew Adamson, Conrad Vernon
12.Despicable Me
Steve Carell, Jason Segel
Released: 2010
Directed by: Pierre Coffin, Chris Renaud
11.Star!
Julie Andrews, Bruce Forsyth
Released: 1968
Directed by: Robert Wise
10.Duet for One
Liam Neeson, Julie Andrews
Released: 1986
Directed by: Andrei Konchalovsky
9.The Princess Diaries 2: Royal Engagement
Anne Hathaway, Julie Andrews
Released: 2004
Directed by: Garry Marshall
8.Darling Lili
Julie Andrews, Rock Hudson
Released: 1970
Directed by: Blake Edwards
7.The Americanization of Emily
Julie Andrews, James Garner
Released: 1964
Directed by: Arthur Hiller, Al Shenberg
6.Cinderella
Julie Andrews, Edie Adams
Released: 1957
Directed by: Ralph Nelson
5.Mary Poppins
Julie Andrews, Dick Van Dyke
Released: 1964
Directed by: Robert Stevenson
4.Thoroughly Modern Millie
Julie Andrews, Mary Tyler Moore
Released: 1967
Directed by: George Roy Hill
3.The Princess Diaries
Anne Hathaway, Mandy Moore
Released: 2001
Directed by: Garry Marshall
2.Victor Victoria
Julie Andrews, James Garner
Released: 1982
Directed by: Blake Edwards
1.The Sound of Music
Julie Andrews, Christopher Plummer
Released: 1965
Directed by: Robert Wise
At the age of 10, Andrews began singing with her pianist mother and singer stepfather (whose last name she legally adopted) in their music-hall act. Demonstrating a remarkably powerful voice with perfect pitch, she made her solo professional debut in 1947 singing an operatic aria in Starlight Roof, a revue staged at the London Hippodrome.
Andrews made her Broadway debut in 1954 in the American production of the popular British musical spoof The Boy Friend. In 1956 she created the role of the Cockney flower girl Eliza Doolittle in Alan Jay Lerner and Frederick Loewe’s classic musical My Fair Lady. Andrews’s performance was universally acclaimed, and the production became one of the biggest hits in Broadway history, as well as a huge success in Britain. In 1957, during the show’s run, Andrews appeared on American television in a musical version of Cinderella, written for her by Richard Rodgers and Oscar Hammerstein II. In 1960 she had another hit in a role developed especially for her, that of Queen Guinevere in Lerner and Loewe’s Camelot.
Although Andrews lost the part of Eliza in the film version of My Fair Lady (1964), she did make her movie debut that year. After seeing her performance in Camelot, Walt Disney went backstage and offered Andrews the title role of the magical proper English nanny in his Mary Poppins (1964). The picture became one of Disney’s biggest moneymakers, and Andrews won both a Grammy and an Academy Award for her performance. The wholesome role and image, however, would prove difficult for Andrews to shed. Her portrayal of the governess and aspiring nun Maria in The Sound of Music (1965), one of the top-grossing films of all time, earned Andrews another Academy Award nomination and further reinforced her sweet
Andrews attempted to change that image with dramatic, nonmusical roles in such films as The Americanization of Emily (1964) and Alfred Hitchcock’s Torn Curtain (1966), but these were overshadowed by her musicals, whose success made her one of the biggest stars of the decade. By the late 1960s, however, traditional film musicals were declining in popularity. Andrews starred in two expensive musical flops—Star! (1968) and Darling Lili (1970), the latter produced, directed, and cowritten by Blake Edwards, whom she married in 1970—and was considered by many to be a has-been. She continued to make television and concert appearances, and, using the name Julie Edwards, she wrote two children’s books—Mandy (1971) and The Last of the Really Great Whangdoodles (1974). She did not, however, have another notable film role until 1979, when she played a supporting part in Edwards’s popular comedy 10 (1979). Beginning with that picture, audiences began to accept Andrews in a wider range of roles.
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