friend Fiona Fullerton. She was also first runner-up for the role of Saint Clare of Assisi in the Franco Zeffirelli production of Brother Sun, Sister Moon (1972), which ultimately went to Judi Bowker. Her best-known appearance was in 1972 when she played Catherine Howard, in Henry VIII and His Six Wives. Her next role was in the 1972 family film The Amazing Mr. Blunden; in 1973, she won the Evening Standard British Film Award for Best New Actress. She continued to work in film and television projects throughout 1973 and 1974, where she was often cast in the archetypal roles of the girl next door, an ingénue, or a princess. Some of the shows in which she appeared were Wessex Tales, Follyfoot, The Generation Game, and an adaptation of The Canterville Ghost where she first met David Niven, who became a lifelong friend. Frederick's most prominent television role came in 1974 when she appeared in three episodes of the critically-acclaimed and Emmy-winning series The Pallisers. The series featured a huge cast of prominent and rising British actors, including Anthony Andrews, of whom she played the love interest. 1975–1977: adult stardom Frederick landed a role in the Spanish romance film A Long Return (Largo retorno, 1975), where she also made her debut and only appearance singing on a film's soundtrack. She also appeared alongside Fabio Testi in Four of the Apocalypse as well as in the adventure film Cormack of the Mounties. She returned to playing a teen-aged character in the Spanish film El Vicio Y La Virtud (1975). Frederick began 1976 with an appearance in a then controversial episode of the BBC series Play for Today, titled "The Other Woman", in which she played a sexually enigmatic girl who falls for a lesbian artist played by Jane Lapotaire. Later the same year, she delivered a critically-acclaimed performance in the Oscar-nominated film, Voyage of the Damned (1976). She followed that with a leading role in a Pete Walker slasher horror film, Schizo (1976), a movie that became an underground hit in the horror film genre. Along with Frederick's rising mainstream success as an actress, her modelling career was also taking off. Shifting her style and image to that of a more sophisticated glamour girl, Frederick emerged as a movie sex symbol of the late 1970s. Her profile expanded to Japan, and she became a frequent face in the Japanese entertainment magazine,