Greatest Films of the 1960s
Greatest Films of the 1960s


Greatest Films of the 1960s
1960 | 1961 | 1962 | 1963 | 1964 | 1965 | 1966 | 1967 | 1968 | 1969

1962

Cape Fear (1962), 105 minutes, D: J. Lee Thompson
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Days of Wine and Roses (1962), 117 minutes, D: Blake Edwards
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Dr. No (1962, UK), 110 minutes, D: Terence Young
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How the West Was Won (1963), 165 minutes, D: John Ford, Henry Hathaway, George Marshall
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Jules et Jim (1962, Fr.) (aka Jules and Jim), 104 minutes, D: Francois Truffaut
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Lawrence of Arabia (1962, UK), 220 minutes, D: David Lean
One of the greatest epic films of all time, and a Best Picture winner, with rich cinematography of the immense desert. A sweeping, breath-taking, cinematic biographical epic that follows the true-life exploits of a famed British officer, T. E. Lawrence (Peter O'Toole in his first major film), and his transformation from an enigmatic eccentric to a hero in WWI Arabia. Assigned there, he courageously unites the warring Arab fractions into a guerrilla front to battle the Turks, Germany's allies. Included the great scenes of Omar Sharif's riding out of a shimmering desert mirage, the jump-cut from a lit match to a brilliant desert sunrise, and the assault on Akaba.

Lolita (1962, UK), 152 minutes, D: Stanley Kubrick
Director Stanley Kubrick's sixth film - a brilliant, sly adaptation of Vladimir Nabokov's celebrated yet controversially-infamous and banned 1955 novel about a middle-aged man's unusual, doomed sexual passion/obsession for a precocious, seductive "nymphet" girl. Academic professor Humbert Humbert (James Mason) lusted after under-age fourteen year-old Dolores "Lolita" Haze (Sue Lyon), daughter of frumpty Charlotte (Shelley Winters), although the film began with the conclusion - the aftermath of an orgy and Humbert's murderous confrontation with rival pedophile Clare Quilty (Peter Sellers).

The Loneliness of the Long Distance Runner (1962, UK), 104 minutes, D: Tony Richardson
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The Longest Day (1962), 180 minutes, D: Andrew Marton, Ken Annakin, Bernhard Wicki
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The Manchurian Candidate (1962), 126 minutes, D: John Frankenheimer
Based on Richard Condon's novel, and adapted by George Axelrod. A complex, realistic depiction of brainwashing in a frightening, satirical psychological thriller. An American platoon fighting in the Korean War is captured and brainwashed by Communist North Koreans in Manchuria. Upon their return to the US, one of the veterans Major Bennett Marco (Frank Sinatra) is haunted by recurring nightmares about their frightening incarceration. He slowly realizes that fellow hero and Congressional Medal of Honor winner Sgt. Raymond Shaw (Laurence Harvey), controlled and manipulated by his spy-agent "Queen of Diamonds" ambitious mother (Angela Lansbury) (the wife of right-wing, McCarthyite demagogue Senator John Iselin (James Gregory)), is behind the sinister plot to assassinate political enemies. The mind-controlled operative Shaw murders his own wife Jocie (Leslie Parrish) and his father-in-law, liberal Senator Thomas Jordon (John McGiver). In the tense climax, Marco uncovers the programmed killer's fiendish plans to assassinate the presidential nominee.

The Man Who Shot Liberty Valance (1962), 118 minutes, D: John Ford
Another B/W Ford film about the passing of the Old West, one of the master's last westerns. In 1910, respected but timid Senator Ransom Stoddard (James Stewart) from the East journeys westward by train with his wife Hallie (Miles) and returns to the city of Shinbone to attend the funeral of his old friend Tom Doniphon (John Wayne). Told in flashback to a local newspaper editor, he remembers his life and career in the wild town and how he was reputedly known as "The Man Who Shot Liberty Valance." As an eastern law school graduate, he set up a law practice and had to contend with outlaw Liberty Valance (Lee Marvin). Idealistic Ransom (called "Pilgrim") is contrasted to the rugged cowboy frontiersman Doniphon, and accorded fame and credit for taming the West and civilizing the town, but it was Doniphon who killed tyrannical outlaw Liberty Valance.

The Miracle Worker (1962), 107 minutes, D: Arthur Penn
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Mondo Cane (1962, It.) (aka A Dog's Life), 105 minutes, Paolo Cavara, Gualtiero Jacopetti, Franco E. Prosperi
This popular Italian-made globe-trotting, amateurish "shockumentary" was luridly advertised as a travelogue of "truth stranger than fiction" - with xenophobic glimpses of dark-skinned, bare 'savages' engaged in grotesque and bizarre religious rituals, tribal ceremonies, animal cruelty, and lurid scenes of human perversity!
The film was castigated as pornographic, trashy and vulgar, although by today's standards would be considered very tame. Often faked, reconstructed or manipulated footage (with misleading narration) included the beheading of a horde of bulls and the mass head-bashing of some pigs in New Guinea, force-feeding of native girls to make them more marriageable and fertile contrasted with weight-loss techniques, Singapore's "House of Death", self-flagellation, hula dancing in Hawaii, the eating of dog in Thailand contrasted with a wealthy pet cemetery in the US, pig-suckling, and environmental catastrophe - the effects of radiation and atomic testing on a small island. The film inspired a series of sequel "Mondo" films (or "shockumentaries") and dozens of imitators - it was the progenitor of "snuff" films, execution videos, hard-core pornography, and even reality TV.

The Music Man (1962), 151 minutes, D: Morton Da Costa
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To Kill a Mockingbird (1962), 131 minutes, D: Robert Mulligan
A poignant adaptation of Harper Lee's best-selling novel by screenwriter Horton Foote, set in small-town 1930s Alabama. Narrated by the adult voice of Kim Stanley, a coming-of-age, autobiographical story, seen from the perspective of a young southern girl Scout (Mary Badham), the daughter of a widowed Southern lawyer Atticus Finch (Gregory Peck), whose innocence about racial bigotry and intolerance was changed forever. The Lincolnesque, compassionate attorney decides to assume the unpopular stance of defending a black man - Tom Robinson (Brock Peters), falsely accused of raping a 'white-trash' woman Mayella Violet Ewell (Collin Wilcox). The film compellingly weaves the children's nightmares, personified by the mute, mentally-retarded Boo Radley (Robert Duvall in his screen debut) with the prejudiced hatred of the bigoted townspeople, led by Mayella's poor redneck father Robert E. Lee (Bob) Ewell (James Anderson).

What Ever Happened to Baby Jane? (1962), 132 minutes, D: Robert Aldrich
A great psychological thriller, black comedy, and over-the-top camp classic is this great trashy melodrama - with the bizarre (and sole) pairing of two legendary -- and rival -- screen legends in a gothic, macabre, Grand Guignol horror film. The screenplay, by Lukas Heller, was based on Henry Farrell's novel Baby Jane (who also authored the novel Hush... Hush, Sweet Charlotte). A grotesque Baby Jane Hudson (Bette Davis at 54 years of age), a former vaudeville child star, and paralyzed invalid sister Blanche (Joan Crawford) from a mysterious, career-ending car accident (for which Jane was blamed but never charged), also a former movie star, live together in a gloomy, crumbling mansion in Los Angeles. Pasty white-faced Jane, whose career faded long ago, is now a deranged alcoholic, and vengefully bitter and jealous toward her wheelchair-bound sister secluded in an upstairs bedroom. Enmity worsens when a local TV network airs a marathon tribute to Blanche Hudson movies, and Jane learns that Blanche is planning to sell the mansion and put her in a sanitarium. There are many stunning scenes and excessive performances, particularly Jane's relentless tormenting of Blanche by serving an ex-pet and roasted rat for "din-din," Jane garishly dressed up as a little girl as she is being coached by impoverished pianist and musical director Edwin Flagg (Victor Buono in his film debut) for an improbable comeback as she croaks, "I've Written a Letter to Daddy." And the concluding beach scene finale, when a past secret is revealed to Jane and she replies, "You mean, all this time we could've been friends?" The film's ending echoes the beginning when Jane purchases two strawberry ice cream cones and then insanely spins, pirouettes and dances, drawing a curious circle of people around her to fulfill her craving desires.


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