- Adaptational Displacement: In adapting William Bradford Huie's 1959 novel, Paddy Chayefsky altered the tone from serious to satirical, and the film is now much better-remembered than the book.
- Retroactive Recognition:
- Two future cast members of Rowan and Martin's Laugh-In have small roles here: Judy Carne as the English woman forced to stand at attention naked when Charlie interrupts her intimacy with Cummings, and Alan Sues as the Navy still photographer who helps out with the filming of the Omaha Beach landing.
- Sharon Tate, who was discovered by the film's producer, Martin Ransohoff, is listed by several sources as having a bit part, but it's been questioned whether she can actually be seen. Her biographer Ed Sanders speculates that she was used as an extra but the footage ended up on the cutting room floor. One website claims to have confirmation from Ransohoff and a couple other people involved with Tate's career that she's not in the film. However, around 14 minutes into the film, in the scene back at the motor pool quarters where Emily and Sheila talk while Sheila dyes her hair, there's a blonde woman in the background who looks a bit like Tate from a distance, but she's too far away to be able to make a positive ID.
- Special Effects Failure: Actual D-Day stock footage is used, but the grainy quality is a poor match with the rest of the film.
- Values Resonance: Charlie's anti-war speech years before the protests against the Vietnam War:
- "So far this war, we've managed to butcher some ten million humans in the interest of humanity...it's not war that's unnatural to us, it's virtue...So, I preach cowardice."
YMMV / The Americanization of Emily