We have previously reviewed the best movies of the 1970s, 80s, 90s, and the first two decades of the new millennium.  Until now I have hesitated to go further back in time; it did not seem to me that the 1960s was a particularly grand decade for film, at least not when compared to the remarkable artistic efflorescence that the 1970s represented.  I have now realized how wrong I was.  The 1960s laid the cinematic foundation for the 70s and 80s, and its influence is still felt today. Counterculture was only one aspect of the 1960s, perhaps not even its most important aspect. Conventions were being tested and revised, boundaries were being pushed and exceeded, and a new mood began to descend on the culture. It would take years for this new mood to find its full fruition. If we appreciate the movies of the 1970s and 1980s, we must thank the filmmakers of the 1960s for pointing the way to a new ethos.     

Below, in no meaningful order of arrangement, are my votes for the best movies of the 1960s.  You will find some surprises here. If readers are not inspired to watch (or re-watch) these films, I will be at least be gratified if they debate the merits of my choices. I have tried to make some comment about each movie.

2001:  A Space Odyssey (1968).  The original mind-blowing science fiction extravaganza.  Stanley Kubrick’s cinematography was so far ahead of its time that the movie still feels contemporary.  As for the film’s meaning…well, that is for you to decide.

8 1/2 (1963).  Federico Fellini’s incomparable blend of fantasy and reality pulses with its own logic, and is best interpreted as a celebration of life and art.  You will either love it, or hate it.  Either way, you need to see it multiple times. 

Psycho (1960).  It is still unsettling today, and remains Hitchcock’s masterpiece.  No one had ever seen anything like it when it was first released, and every “slasher” film since Psycho has been a pale imitation of the original. Anthony Perkins’s twitching, repressed, stuttering demeanor has become legendary, and it is doubtful that any other actor could have made the movie what it is. 

Lawrence of Arabia (1962).  Some movies should be seen only because of their beautiful cinematography.  This is one of them. No one has ever photographed the desert quite like David Lean.

Once Upon A Time In The West (1968).  Sergio Leone’s blend of music, pathos, drama, and fate all come together in a movie that is, in fact, every bit as compelling as The Good, The Bad, And The Ugly.  Henry Fonda dominates the movie as one of the darkest cinematic villains of all time.

Army Of Shadows (1969).  One of the very best war movies ever made.  It creates a universe of moral ambiguity, in which the French Resistance becomes nearly as malign as the German occupation forces. It was never officially “banned” in France, but its dark, anti-heroic patina caused many distributors and theater owners to avoid it. A restoration in 2006 led to its rediscovery. An absolute must-see. 

Harakiri (1962).  This allegorical samurai film has an enduring message of contemporary relevance:  the idea that leaders too often demand that underlings follow their orders, and not their example. 

Bonnie And Clyde (1967).  This film broke new ground in its depiction of violence and criminal pathology. 

The Good, The Bad, And The Ugly (1966).  What emerges from Sergio Leone’s masterpiece is a feeling of pathos, compassion, and, in some strange way, a love of mankind, despite all its follies, cruelties, and foibles.  See it again and again, and revel in its grandeur and operatic sweep.

Easy Rider (1969).  This iconic 1960s counterculture symbol may feel dated today, but there is no denying that it became, for better or for worse, one of those movies that helped define a decade.  This movie is to the 1960s what Saturday Night Fever was to the 1970s:  a revealing cultural snapshot.

The Sound Of Music (1965).  I am not a big fan of musicals, but this one is so enjoyable and innocent that a viewer cannot help but be swept along by its exuberance. 

Dr. Strangelove:  Or, How I Learned To Stop Worrying And Love The Bomb (1964).  Without a doubt, the best black comedy ever made.  Is nuclear war a proper subject for satire?  The answer is yes.  It also seems, disturbingly, to be more relevant now than when it was made.

The Battle Of Algiers (1966).  A chronicle of the urban insurgency against the French in Algiers during the 1950s, this movie is shot as a faux-documentary.  Its stark realism and uncompromising conviction make it mandatory viewing for anyone wishing to understand the anatomy of an uprising. 

One Hundred And One Dalmatians (1961).  There was a time when Disney made real animated pictures.  This for me is the best of them.  No child should miss it.

Butch Cassidy And The Sundance Kid (1969).  If you expertly blend social commentary, humor, a Western action film, and a drama of relationships, you begin to get an idea of how good this movie is.  It’s all fun and games on the surface, but viewers will be surprised by how dark and serious the feeling becomes as the end approaches.

Le Samourai (1967).  Jean Pierre Melville’s masterpiece of a hit-man living in isolation is just about perfect in every way.

In Cold Blood (1967).  The straightforward realism of this movie is perhaps what makes it so compelling.  The movie portrays a horrific crime from its contemplation to its inevitable conclusion, but rises above simple narration to give us insight into the nature of evil.

The Wild Bunch (1969).  Peckinpah’s masterpiece is bursting with action, memorable characters, and a sense of impending doom.  A ground-breaking film in many ways, it was one of the first to depict extreme violence, although by today’s standards it is relatively mild.  But its real themes are the passing of the old guard in the midst of change, male comraderie, the loss of purpose and relevance, and the inescapability of one’s fate.

The Graduate (1967).  Another one of those anti-establishment movies that helped define the 1960s.  But the performances are so good, and the story so poignant, that it’s hard to find fault with anything here.  Watch for Anne Bancroft in her incredible role as an bored adulteress. She steals every scene, and somehow manages to be both pathetic and intimidating at the same time.

The Great Escape (1963).  A long but moving film of brotherhood, friendship, and the determination to survive.  “Star-studded cast” movies tend to underwhelm, but this one succeeds in every way.

Bullitt (1968).  If Steve McQueen is the king of cool—and he is—then this movie is the coolest of them all.

The Manchurian Candidate (1962).  One of the first true “political thrillers,” this exercise in Cold War paranoia somehow manages to be more unsettling now than it was in 1962.  Do not see the remake. 

The Guns Of Navarone (1961).  There are no deep meanings here, only a war picture expertly made, expertly acted, and expertly edited.  And that is worth a great deal.  See it.

Planet Of The Apes (1968).  Yes, the satire is forced and smug.  Yes, the costumes are not as realistic as what we would find in 2026.  But there is something about this movie…and the final shot still retains its power. Probably the quintessential Charlton Heston movie.

The Bedford Incident (1965). This nearly forgotten Cold War thriller (if it can be called that) should be mandatory viewing today, just as The Battle Of Algiers was mandatory for U.S. servicemen in the early 2000s. It has lost none of its terrifying power. The plot: a naval vessel on patrol near the Arctic Circle plays a game of cat-and-mouse with a Soviet submarine. And then matters escalate.

Night Of The Living Dead (1968).  This is the undisputed granddaddy of every zombie picture or television series.  Few films on this list can claim to have been so enormously influential.  Drive-in theater audiences in 1968 were expecting a generic monster movie, but what they got was a pulse-pounding descent into apocalyptic horror that never relented, not even for one minute.  The final scene has never been equaled in its grimness and cynicism.

A Shot In The Dark (1964).  We should include at least one comedy.  Peter Sellers began to develop his “Inspector Clouseau” persona here, and the results are brilliant.

Carnival Of Souls (1962).  One of the earliest “twist ending” psychological suspense movies, this low-budget masterpiece has influenced countless directors. This movie proves that you don’t need a lot of money to make a great film: you need only vision and conviction.    

Cool Hand Luke (1967). One of the best anti-establishment movies ever made, as well as a sharply-drawn character study of a man who refuses to bow to authority. The movie is filled with colorful characters, and can be seen as commentary on social dynamics. Paul Newman plays one of his greatest roles as a rebellious veteran who is sentenced to hard time in a Southern chain gang for “malicious destruction of municipal property.”

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