My Picks for the 6 from the '60s Blogathon

This is our entry for the 6 From the '60s Blogathon in celebration of National Class Movie Day. Since the 1960s was an incredible decade for movies, choosing just six favorites proved to be incredibly difficult. While the half-dozen below are all marvelous films, I might pick a different six movies if faced with the same challenge next week!

Doris Day and Rock Hudson.

Lover Come Back (1961) - After mostly dramatic roles in the 1950s, Rock Hudson developed into a gifted comedian with Pillow Talk (1959) and this delightfully delirious follow-up. Rock stars as Jerry Webster, an unethical Madison Avenue advertising executive who will do anything to beat his rival, Carol Templeton (Doris Day). When Carol mistakes the womanizing Jerry as a nerdish inventor, he plays along--even to the point of emphasizing he's "never been with a woman." This leads to Rock's best scene, as Jerry tries to encourage Carol to seduce him in her apartment--during which a convenient phone call enlightens her about his true identity. While Lover Come Back is sometimes described as a variation of Pillow Talk, it's actually a superior film, with clever jabs at the advertising industry and sparkling supporting performances (especially from Tony Randall and Edie Adams).

Sidney Poitier ad Lilia Skala.

Lilies of the Field (1963) - Sidney Poitier won a Best Actor Oscar for playing Homer Smith, a drifter who stops to get water for his car at a southwestern farm run by German nuns. What Homer doesn't know is that the nuns believe he is the answer to their prayers--that he will build a chapel for them even though they have no money nor materials for the building. Often described as a feel-good movie, Lilies of the Field far exceeds that simple label with its inspirational message about faith and finding meaning in one's life. Poitier is at his most charming as Homer, a stubborn man who resists building the chapel initially. When he finally relents, he doesn't want anyone to help him. His scenes with the equally firm Mother Maria (beautifully played by Lilia Skala) are not to be missed.

Kirk Douglas in disguise.

The List of Adrian Messenger (1963) – John Huston’s mystery is best known for its gimmick: several famous stars make cameos in heavy make-up. While trying to spot the stars is undeniably fun, the gimmick disguises the fact that The List of Adrian Messenger is a highly-entertaining, crafty film that starts as a mystery and evolves into a suspenseful cat-and-mouse game. In the opening scenes, author Adrian Messenger provides a list of ten names to his friend Anthony Gethryn (George C. Scott), a former MI5 operative, and asks him to quietly find out if the ten people on the list are still alive. Gethryn agrees to undertake the assignment. A few days later, a bomb explodes aboard a plane carrying Adrian as a passenger. Based on a 1959 novel by mystery author and screenwriter Philip MacDonald, The List of Adrian Messenger borrows the killer’s motive from another famous detective novel (no spoilers here!). But the “why” is only part of the fun in The List of Adrian Messenger. It’s the “how” that differentiates it from other mysteries. Among his many skills, the murderer, played delightfully by Kirk Douglas, is also a master of disguises. That provides the opportunity for Douglas to don a number of incredible “looks” designed by make-up master Bud Westmore. Thus, the killer appears as a pointy-chinned priest, a short mousey man, a white-haired elderly villager, and others.

Tippi Hedren and Sean Connery.

Marnie (1964) – When I first saw Marnie as a teenager, it made no impression at all. I thought Tippi Hedren was miscast and Sean Connery dull. The plot--what there was of one--seemed thin and the characters lacked interest. Decades later, I watched it it again and, to my complete surprise, I loved it! Tippi Hedren's subtle detached performance made Marnie a vulnerable, intriguing character. The progressively complex relationship between Marnie and Sean Connery’s character generated suspense--in its own quiet way--worthy of Hitch’s best man-on-the-run films. I was captivated by Hitch's finest use of color (especially during the opening scenes). And finally, there was Bernard Herrmann's incredible score (which, for me, ranks second only to Vertigo among his Hitchcock soundtracks). I've often wondered how I missed all of this the first time around?

Hayley Mills spying.

The Chalk Garden (1964) – My favorite Deborah Kerr film is this offbeat, poignant tale about secrets and the passing of judgment on people, often without charity. Ms. Kerr stars as a governess (once again), hired by a dowager to care for the elderly lady’s out-of-control teenage granddaughter (Hayley Mills). The girl has a fondness for setting fires and delights in threatening to burn down the gloomy mansion set among the isolated cliffs. As the story progresses, its focus shifts from the young girl to the governess—a mystery woman who paces her room at night “like a caged animal,” has only new possessions, doesn't have a picture of a loved one in her room, and receives no letters or phone calls. This quiet film is content to rely on its carefully-crafted characters and wonderful performances (to include John Mills). They will ensure that The Chalk Garden lingers with you long after its secret is revealed.

Charles Bronson as Harmonica.

Once Upon a Time in the West (1968) – "Epic" and "sprawling" are the words critics frequently used to describe this now-revered 1968 Spaghetti Western. Yet, despite its lengthy running time and visually massive backdrop, Once Upon a Time in the West focuses tightly on the relationships among four people over a relatively short period of time. These characters are: Frank (Henry Fonda), a ruthless gunfighter who aspires to be a powerful businessman; Cheyenne (Jason Robards), a rascally outlaw with killer instincts; Jill (Claudia Cardinale), a former prostitute in search of a more meaningful life; and a mysterious revenge-minded stranger whom Cheyenne calls Harmonica (Charles Bronson). It took multiple viewings over the span of several years for me to fully appreciate Sergio Leone’s masterpiece. In the end, I was won over by its fascinating characters, overarching theme, Ennio Morricone’s score, and some marvelous set pieces (especially the opening and climactic showdown between Frank and Harmonica).

There are too many honorable mentions to list, but it's just wrong not to include: Bunny Lake Is Missing, Jason and the Argonauts, Von Ryan's Express, Where Eagles Dare, Goldfinger, To Kill a Mockingbird, Splendor in the Grass, Brides of Dracula, Flight of the Phoenix, Quatermass and the Pit, 101 Dalmatians, and To Sir, With Love.

Click here to check out all the fabulous entries in this blogathon.