Although a proven favorite with American audiences thanks to her frequent TV variety show appearances (notably a memorable 1962 teaming with Carol Burnett), Andrews did not make a motion picture until 1964. As Mary Poppins, Andrews not only headlined one of Walt Disney's all-time biggest moneymakers, but also won an Oscar — sweet compensation for having lost the Eliza role to Audrey Hepburn for the adaptation of My Fair Lady. Andrews hoped that Mary Poppins would not type her in "goody-goody" parts, and, to that end, accepted a decidedly mature role as James Garner's love interest in The Americanization of Emily (1964). However, Andrews' next film, The Sound of Music (1965) effectively locked her into sweetness and light parts in the minds of moviegoers. On the strength of the success of Music, Andrews was signed to numerous Hollywood projects, but her stardom had peaked, and by the time she made the much-maligned Darling Lili (1970) for her husband/director Blake Edwards, she was perceived as a has-been. Her talent had not diminished, as illustrated by her '70s nightclub appearances and her weekly TV series, where she was better than ever. But Andrews was the victim of changing Hollywood tastes and mores; and, as far as producers and the public were concerned, she was sentimental, sugary, and old hat. A strong comeback in 1978's 10 confounded these naysayers, as did Andrews' portrayals of such complex characters as the truculent movie prima donna in S.O.B. (1981), the female/male/female impersonator in Victor, Victoria (1982), the frustrated multiple sclerosis victim in Duet for One (1986), and the grieving mother of an AIDS victim in Our Sons (1991), securing her reputation as an actress of unbounded versatility.