JULIE ANDREWS’ T O P 1 0 MOVIES

“Shrek 2” (2004): The unmistakable sound of Andrews informed the character of Queen Lillian, a voice role she would reprise in two more sequels in the popular animated franchise.

“The Princess Diaries” (2001): Andrews was in fine, properly regal form in director Garry Marshall’s comedy as the royal grandmother of a teen (Anne Hathaway) who didn’t suspect her lineage.

“Victor/Victoria” (1982): Working again with Blake Edwards, Andrews pulled off a tricky role – a struggling performer posing as a female impersonator – though co-star Robert Preston nearly steals the show, right up to the closing sequence.

“S.O.B.” (1981): Famous largely for Andrews’ highly uncharacteristic nude scene, Blake Edwards’ satire of Hollywood made many pungent points about the movie business.

“10” (1979): In a film she made with husband Blake Edwards, Andrews became the unwitting romantic rival of Bo Derek (who was made a pop-culture icon by the film) for Dudley Moore.

“Thoroughly Modern Millie” (1967): The genre’s leading lady then, only Andrews – along with co-stars Mary Tyler Moore and Carol Channing – could sell a musical about white slavery in the Roaring Twenties.

“Torn Curtain” (1966): Andrews and Paul Newman certainly delivered star power to Alfred Hitchcock’s Cold

War thriller about an American scientist’s attempt to go behind the Iron Curtain and retrieve a vital formula.

“The Sound of Music” (1965):

Well, of course. The Rodgers & Hammerstein classic gave Andrews a milestone movie role as Maria, the novice nun turned novice governess to the von Trapp children.

“The Americanization of Emily” (1964): Andrews proved she could do equally fine screen work without music, portraying an American soldier’s (James Garner) British object of affection during World War II.

“Mary Poppins” (1964): The role that brought Andrews from Broadway to the screen also earned her an Oscar, as the Disney incarnation of novelist P.L. Travers’ literally high-flying English nanny.