The role is a nerdy archetype, but O’Connor doesn’t play it as insecure or shy despite his body type. Instead he’s a process-oriented obsessive, intent on getting the most discreet, cost-effective abortion he can find. With his parents AWOL, Andy can take care of himself, and he’s one nerd who never succumbs to self-pity or misogyny. Sure, he’s in love with Rosalind and jealous of her lover, but he also is able to process and compartmentalize it with swift efficiency. The sadness to him is that he has lost all remnants of being a child. This becomes painfully clear when Rosalind’s dad (Lloyd Bridges) has a drunken heart-to-heart with him and blurts that his daughter’s “got most of her brains in her tits.” Andy is continually pulled into the adult world of self-loathing and misogyny, just out of circumstance.
Rosalind is another complicated teen. She is conceited, increasingly aware of her sexual power over men, but also intensely loyal to her friends and very sweet when she lets down her guard. Pamela Sue Martin can shift between shrieking vanity and calm concern as if they were on the same wavelength (she would hone that shrieking later in 1972 on The Poseidon Adventure). There are no big twists or breakthroughs, and Andy doesn’t get the girl. At the end of To Find a Man, everyone is basically back where they started. It’s a film where nothing happened and everything happened at once. In aiding Rosalind in getting an abortion, Andy has shed his last vestiges of innocence, extinguished his puppy love and walked away from his lonely childhood forever. And he seems happy about it.