The Great Escape (1963)

During WWII, the Germans decide to build an escape-proof camp and move all of the frequent-escapers to it. Since the Allied forces are duty-bound to do their best to escape if captured, the prisoners work together to execute the most elaborate and, hopefully, resource-diverting breakout possible.

This is a fascinating film made all the more incredible by the fact that it's a true story. Though long, we were never bored. 

B+

8 1/2 (1963)

Writer/director Guido is in pre-production for his new film -- but he hasn't yet come up with an idea. He's spending time at a spa and with his memories while fending off the constant interruptions of the crew and cast wanting to know what they should be doing. He's also juggling his wife and his brassy mistress.

This just felt like a jumble to me. There were interesting moments, but not enough of them hung together to create a cohesive whole. By the midway point, I was just looking for the finish line.

C+

Twice-Told Tales (1963)

Three short films based on stories by Nathaniel Hawthorne and all starring Vincent Price. The first is about enteral youth, the second is doomed love, and the third is a family curse spanning more than a century. None are worth the time and the sets look like they were put together for a pretty decent high school play.

D-

The Exterminating Angel (1963)

Right before an upscale dinner party begins, the household staff -- excepting the head butler -- all leave the premises, much to the irritation of the hostess. The evening goes well enough, but once the group moves from the dining room to a sitting room to chat and enjoy some music, a kind of lethargy sets in. People talk about it being time to leave but never really muster up the momentum to actually do so. Days pass in this way, with the "stuck" group of people growing more irritable and frightened. Eventually a crowd gathers outside the house, as unable to enter the premises as those inside are unable to leave them.

It's one of those high-brow concepts with no explanation; aka not really my thing. If the group trapped inside weren't so unlikable, I might've been able to identify with them, which might have made me care a little bit. But I was actually kind of rooting for the mansion to simply become a tomb because it didn't seem like it'd be that big of a loss.

C-

Love with the Proper Stranger (1963)

Angie is pregnant from a one-night stand. But when she goes to the father for help, he doesn't even remember her. Still, he's determined to do the right thing -- and both of them agree that the "right thing" is an abortion, despite it being illegal.

This started out quite strong and was completely different than what I was expecting from the video cover (left). They're struggling to come up with cash for a scary thing, literally running around with a stranger, bonding despite themselves. But then the movie takes a weird turn into bickering comedy and undid all of the powerful work that had gone before.

C+

The Haunting (1963)

Scientist bent on investigating a purportedly haunted house invites a diverse group to help him do so by actually staying within its walls. The intended heir is there to keep an eye on things, as are the clairvoyant/somewhat mean-spirited Theodora and the meekly nervous Eleanor, who has demonstrated psychic ability.

The house wastes no time in letting the visitors know that, yep, it's haunted. But while three of the guests seem to believe, they also seem to understand that they can't be actually harmed. Eleanor, on the other hand, is frankly losing her mind. The house isn't buffeting her from the outside alone, it's gotten inside of her and whispers to her.

I first saw this film in the '90s and rated it highly. It dulls slightly on second watch -- or maybe simply with my age -- but is still a worthwhile and truly frightening film.

B-

Shock Corridor (1963)

Newspaper man chasing a Pulitzer goes undercover in a mental hospital to find out who murdered one of its patients. But he winds up going crazy himself because, you know...crazy is catching?

This film was downright hilarious in its portrayals of different mental afflictions (not to mention the profession of stripping). For example: in one scene our hero walks into a room -- door locks behind him -- and it’s full of women, one of whom is aggressively singing “My Bonny Lies Over the Ocean” at him. He assesses the situation and hisses, “Nymphos!” as they surround him and take him down. 

Ridiculous now, but it probably came off as groundbreaking in its day.

C-

The L-Shaped Room (1963)

A pregnant French girl takes a room in a shabby boardinghouse and, despite her intentions, winds up letting the other boarders into her life and heart.

Although there’s a lot to like about this movie, the main couple is by far the weakest aspect (not to mention the most annoying) and, of course, it’s the storyline we get the most of.

B-

Irma la Douce (1963)

Shirley MacLaine's a Paris streetwalker with the best corner, a reputation for satisfying her clients, and a pimp who's a lout. Then good guy Lemmon comes along and wants to take her away from all that. How? By becoming both her pimp and putting on a disguise to become a john who pays high enough that she doesn't need to anyone but him. Wacky, right?

Everyone's trying hard to achieve a mix of raciness and hilarity -- but it just felt tired and embarrassing. It wasn't even offensive enough to be interesting. Nothing here works, not even the chemistry between the two leads, which is quite surprising considering they were terrific together just a few years earlier (and even under the same director!) in The Apartment.

A flat waste of time.

D+

Cleopatra (1963)

It's been on my "to see" list for more than a decade. I wasn't looking forward to it in the least, but since I'm determined to eventually see all of the Oscar-nominated films in the acting, writing, and best picture categories, there was simply no escaping it.

I guess it was all that "most expensive flop of all-time" hype surrounding it that made me view the movie as a chore to be done...but, really, my anxiety was misspent. This is not a bad film. More specifically: it's a fantastic film worthy of an "A" for the first (Caesar) half and an overstuffed spectacle that'd earn a "C-" throughout the second (Antony) half. Together, it's not bad.

B

Tom Jones (1963)

Robert Osborne, TCM host, introduced this film as being a "hoot" and said that the screen was filled with "hellzapoppin" visuals. Robert Osborne is losing his mind.

Basically, Tom Jones is a maid's illegitimate son, who's taken in by the master of the house and raised as a gentleman. But Tom just can't get enough of the ladies and that gets him into trouble. Once he's booted from his adoptive home resulting in the loss of the virginal true object of his affection and his inheritance, he sets off to find his own way in the world. This, for Tom, means finding ever more willing women to bed.

Wow -- that last paragraph makes the movie sound a lot more entertaining than it is. I'm not sure how, with such a winning star (Albert Finney) and lively base story, the film went so wrong. But, I'm here to tell you that it did. It's boring as all get-out. I can't believe this was named the top picture of 1963 over Cleopatra and Lilies of the Field, two far superior movies.

C-

Murder at the Gallop (1963)

Miss Marple, amateur sleuth/professional busybody, thinks there's something fishy about the death of an acquaintance and sets about trying to figure out what it is -- dragging along her faithful sidekick Stringer.

Margaret Rutherford sparkles in the title role. The way she holds her face in an exaggerated "oh, aren't I clever" expression while waiting for those around her to catch up is comical without being over-the-top. The supporting cast of suspects are a load of fun, as is the inspector on the case he's not even sure is a case.

Lightweight fun.

B

Twilight of Honor (1963)

Principled widower takes on the defense in high-profile case in which an entire town wants the blood of the accused. Sound familiar? Yep -- you got it -- it's a low-brow "To Kill a Mockingbird" rip-off.

Where Mockingbird had nobility, sadness, and weight, Honor substitutes in entitlement, seediness, and romance. It's a waste of time -- especially when considered comparatively.

C

Captain Newman, M.D. (1963)

Army psychiatrist treats damaged men…but, surprisingly, the film's not depressing. Tony Curtis is welcome comic relief and Peck does his part to liven the mood as well. A couple of the therapy sessions get a little heavy-handed…but, for the most part, nicely done.

B

Knife in the Water (1963)

Affluent couple pick up a hitchhiker and take him along on a day of sailing. Tight, tense three-person drama. Quite good.

B

How the West Was Won (1963)

All over the place. Spans about 50 years or so and follows several story lines -- too bad none of them are very good. In serious need of an editor.

D

The Cardinal (1963)

Surprisingly interesting study of a priest's rise to the office of cardinal -- crises of faith & hardships galore. Somehow, though, it kept me at arm's distance by cramming too much story into the film -- even at 3 hours, I still felt that I didn't get "all the way" into any of the myriad story lines. Well acted.

B-