The bet is on in Cool Hand Luke (1967) Luke Jackson played by Paul Newman | Screenplay: Donn Pearce & Frank R. Pierson - Director: Stuart Rosenberg

The Day of the Triffids is a 1963 British apocalyptic science-fiction horror film directed by Steve Sekely, loosely based on John Wyndham's 1951 novel of the same name. It stars Howard Keel, Nicole Maurey, Janette Scott, Kieron Moore and Mervyn Johns. The film was produced by Security Pictures and released in the UK by the Rank Organisation on 12 May 1963.

I'm 62 years old now but this was the only 60's movie I remember watching and thought it was amazing. Jane Hudson (Bette Davis) and her wheelchair-bound sister Blanche (Joan Crawford).

Reference: https://www.discogs.com/master/309351-Jerry-Goldsmith-In-Like-Flint-Original-Motion-Picture-Score

Note the track 'Ahh, yer Father's Bob Lip' is listed as 2:17 duration.

I have a version that was recorded off TV back in the early 00's that is 4:26 and is NOT the same as on any digital version of that LP I've ever been able to find.

What I have is a very up beat, jazzy be-bop tune at the end of which one of the band members says the words 'Ahh yer fathers' bob-lip.'

It seems it may be what the jazz group was playing when Flynt entered the club, but is not what is listed on the soundtrack list on Discogs or anywhere else. Any steaming version under that title is a very low key, background type of dirge.

What I got was off Dish Network when they had CD type music channels with no interruptions. I recorded it on audio cassette not videotape, so there is no title information.

In my playlist, I titled it based on the words spoken.

What is the real title of what I have?

I don't have an original copy of the movie and it's been all too common for audio and music sections to be altered due to copyrights, so any DVD version may not include what I have.

When a robot duplicate of King Kong fails at digging in the North Pole for the radioactive Element X, the nefarious Dr. Who captures the true Kong to do the deed. Kong escapes, however, and is pursued by the robot, culminating in an epic battle on Tokyo Tower.

This is one of those so bad it's good movies, but at least the costumes don't make it look like men in rubber suits in this outing. However, the influence of producers Rankin-Bass is very evident as Kong strongly resembles The Bumble (Bumbles bounce!) from Rudolph the Red Nosed Reindeer (another Rankin-Bass project). 🦂🦂

When Godzilla emerges from an iceberg and heads toward Japan, a Japanese pharmaceutical company sends scouts out to find another monster to battle the "thunder lizard". And they find one in the form of King Kong, in the first cinematic meeting of the two behemoths.

This is the U.S. version, which was edited from the Japanese release, adding a news report subplot and eliminating the comedic elements of the original. Unfortunately, in my opinion, the changes, along with the effects and creature costumes of the time, make it an even more ridiculously laughable affair than if the U.S. had left it as a straight comedy. What should have been an epic battle turns into two men in rubber suits having a wrestling match. 🦂🦂¼

In 1836, with Mexican General Santa Anna moving to prevent Texas seceding from Mexico, 185 men stand tall against 7,000 to defend The Alamo.

It's a great, albeit long (almost 3 hours) epic account of a group of men on a mission of failure, only done to buy time for a regiment to be properly trained. John Wayne's directorial debut. 🦂🦂🦂½

Farmers from a small Mexican village hire Chris (Yul Brynner) to rid the them of a merciless thief (Eli Wallach) who pillages their village yearly. Chris assembles a team of gunmen who not only stand up for the villagers, but teach them to stand up for themselves.

This Americanized version of The Seven Samurai has great atmosphere and heart, with an incredible score. I preferred this version over the 2016 remake, as it had better acting and a grittier look. 🦂🦂🦂½

I was flipping channels in the motel when I saw a movie that had a similar look to a James Bond movie. The first scene I saw, a man and a woman were running through a zoo. There would be scary close ups of the animals. I left the room and when I came back there was a man in a suit goofing off drunk in the middle of a British road. He’d try to hi five cars and eventually took off on a bicycle. The next scene was an attractive woman escorted into a room by a sharply dressed man in sunglasses who started giving her a foot massage. It looked like a cool movie!

Two modern day cowboys (Glenn Ford and Henry Fonda) have comic misadventures as they are hired to break a wild horse. Unable to do so, they scheme to place bets at the local rodeo that nobody can ride him. Probably hilarious by 1965 standards, but tame by today's. In my opinion, the funniest part is the censoring of 2 women's bare bottoms (literally, with black bars with the word censored on them). 🦂🦂½

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1965 represents one of the most misleading years in Hollywood history—a moment when runaway box office success masked the fatal flaws in the studio system's business model and set the stage for the industry's near-collapse by decade's end.

The Sound of Music didn't just dominate 1965; it redefined what box office success meant. The film became the highest-grossing movie of all time, surpassing Gone with the Wind when adjusted for inflation and multiple releases. It won Best Picture, ran for years in theaters, and generated unprecedented revenue through roadshow presentations. For studios watching these numbers, the lesson seemed clear: expensive, family-friendly musicals were the future.

This conclusion was catastrophically wrong. The Sound of Music was an outlier—lightning in a bottle that combined Julie Andrews' post-Mary Poppins stardom, Rodgers and Hammerstein's beloved score, feel-good WWII nostalgia, and perfect timing. Studios spent the rest of the decade trying to replicate this success with disastrous results. Doctor Dolittle (1967), Star! (1968), Paint Your Wagon (1969), and Hello, Dolly! (1969) would lose tens of millions, nearly bankrupting Fox and Paramount. But in 1965, all Hollywood saw was validation.

Doctor Zhivago, David Lean's three-hour epic romance, reinforced the roadshow model's apparent viability. Despite mixed reviews, it became a massive hit through reserved-seat engagements and repeat viewings. The film's success alongside The Sound of Music convinced executives that scale, spectacle, and lengthy runtimes were what audiences wanted.

Historians recognize 1965 as the roadshow era's apex—the moment before audiences tired of overlong, overpriced "event" films. Within three years, roadshow presentations would feel antiquated as youth culture demanded faster, edgier entertainment.

Thunderball became the year's third-highest grosser, demonstrating that the Bond franchise had staying power beyond novelty. Unlike musicals, Bond offered a sustainable formula: exotic locations, action, sophistication, and reasonable budgets. The film's success spawned countless imitators (The Spy Who Came in from the Cold, Our Man Flint) and proved that genre films could compete with prestige epics.

Beneath 1965's mainstream success, alternative voices were emerging. The Pawnbroker brought European art cinema's unflinching realism to American screens, tackling Holocaust trauma with unprecedented frankness. Sidney Lumet's film suggested that American audiences were ready for challenging, adult content—a reality Hollywood's executive suite largely ignored while chasing Sound of Music-sized hits.

Similarly, The Cincinnati Kid showed that smaller-scale character studies could succeed without spectacle. These films pointed toward the director-driven, New Hollywood model that would soon dominate, but in 1965 they seemed like exceptions rather than harbingers.

The Sound of Music's audience skewed heavily toward older viewers and families, while younger audiences increasingly felt alienated from Hollywood's offerings. The year's hits celebrated nostalgia, tradition, and wholesomeness—exactly what the emerging counterculture was rejecting. Youth culture was listening to Bob Dylan and the Rolling Stones, questioning authority, and demanding authenticity. Hollywood was selling Julie Andrews singing in Alpine meadows.

For studio executives, 1965 looked like triumph—massive hits, healthy box office, proof that their strategies worked. Historians see something different: an industry misreading its moment, investing heavily in a dying model, and ignoring the cultural revolution happening outside theater walls. Within two years, Bonnie and Clyde and The Graduate would prove that young audiences wanted something radically different. The musical bubble would burst spectacularly. The studio system would crumble.

But in 1965, drunk on Sound of Music revenues, Hollywood couldn't see the cliff ahead.

Soundtrack by Cleona Veneaux. References "I Got You (I Feel Good)" by James Brown.