The 1960s also saw the final films of many of the classical Hollywood directors who had worked in the industry since its infancy. Alfred Hitchcock’s last films were among his best, including the European-influenced horror picture The Birds (1963), in which large groups of birds attack a small California town without explanation, and Marnie (1964), a psychological study of a kleptomaniac that was unjustly dismissed when first released. Torn Curtain (1966) and Topaz (1969), both political thrillers, were perhaps less successful, but Hitchcock returned to form with the murder mystery Frenzy (1972), shot on location in England, before ending his career with the gently comic caper Family Plot (1976).
John Ford’s epic work came to a graceful close with the racial drama Sergeant Rutledge (1960); the elegiac western Two Rode Together (1961); the remarkable “chamber western” The Man Who Shot Liberty Valance (1962), a film shot almost entirely on interior sound stages for precise control of camera movement and lighting; the knockabout comedy Donovans Reef (1963); Cheyenne Autumn (1964), one of Ford’s most sympa-Tippi Hedren is attacked by The Birds in Alfred thetic films on the plight of Native Americans in the early western United States; and 7 Women (1966), a tragic and intimate drama superbly played by Anne Bancroft, Anna Lee, Woody Strode, and Mildred Dunnock.
Howard Hawks, Hollywood’s most reliable multigenre director, ended his career with an African big-game safari film, Hatari! (1962), followed by the comedy Mans Favorite Sport? (1964), the stock-car racing drama Red Line 7000 (1965), and two economical westerns, El Dorado (1966), one of his finest films in any genre, and Rio Lobo (1970).
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