Jules and Jim (1962, Fr.) (aka Jules et Jim)

Menage A Trois Kisses

Francois Truffaut's New Wave romantic drama, based on Henri-Pierre Roché's semi-autobiographical novel, told of a doomed love triangle from 1912 to the early 1930s between:

• free-spirited French illustrator Catherine (Jeanne Moreau)
• extroverted, French-born, returning WWI soldier Jim (Henri Serre)
• quiet, naive and conservative Austrian writer Jules (Oskar Werner)

A kiss between Jim and Catherine was accompanied by dissolving images of Catherine in bed, and the narrator's words: "Their first kiss lasted all night." Although there was love between all of them, Catherine married Jules and they lived in an Austrian chalet by the Rhine countryside.

After the intervention of WWI, when the two men fought on opposite sides of the conflict, Jim reacquainted himself with Catherine and Jules, who now had a five year-old daughter named Sabine (Sabine Haudepin). However, the marriage was in disrepair, and Catherine was briefly romancing Jim. Jules even offered her a divorce if she'd marry Jim, so that they could all still be together, and he would share her vicariously.

As Catherine kissed husband Jules, they talked about their changing love:

Catherine: "We were really happy together, weren't we?"
Jules: "We still are. At least, I am."
Catherine: "Really? Yes, we'll stay together always, like an old couple, with Sabine and our grandchildren. Keep me close to you."

Lolita (1962)

Censored Underage Kisses

Director Stanley Kubrick's scandalous and controversial film based upon Vladimir Nabokov's novel was actually a comedic drama about a middle-aged man's pitiable obsession with a precocious teenaged girl (in the book, she was only a 12 year-old 'nymphet').

In a night-time scene set in Ramsdale, New Hampshire where devious boarder and teacher Humbert Humbert (James Mason) demonstrated his growing obsession with young nymphet Dolores 'Lolita' Haze (Sue Lyons), he played chess with her mother Charlotte Haze (Shelley Winters), when 'Lolita' strolled into the living room wearing a full length nightgown.

Charlotte was worried - symbolically: "You're going to take my Queen!" He replied, expectedly: "That is my intention, certainly." Lolita leaned on the arm of his chair next to him, and then murmured: "G'night." She kissed her mother on the cheek and then nuzzled cheek to cheek next to Humbert before leaving to go upstairs. Humbert immediately took Charlotte's Queen in his next move: "It had to happen sometime" - he quipped.

Humbert also received a goodbye hug and half-kiss in the upstairs hallway when Lolita was leaving for summer camp 200 miles away, when she memorably told him along with a half-wink: "Well, I guess I won't be seeing you again, huh?...Then I guess this is goodbye. Don't forget me." Soon after, to be near Charlotte's seductive child so that he could proceed with his nymphetomania, Humbert realized that he must marry Charlotte.

Charlotte's untimely death meant Humbert would be her sole guardian, and he drove the Haze station wagon to pick her up from summer camp. When he confessed his love for the not-so-naive Lolita, she responded: "You haven't even kissed me yet, have you?" After staying the night in a hotel, although Humbert slept on a separate cot, she initiated sex with him the following morning. She coquettishly suggested playing a game that she had learned at camp, while seductively twirling the hair on his head with her finger, but the screen discreetly faded to black (to blunt the story and please the censors).

The Manchurian Candidate (1962)

The major character in John Frankenheimer's classic political thriller was Sgt. Raymond Shaw (Laurence Harvey), who was backed by his corrupt, monstrous and perverse maternal figure, Mrs. Eleanor Shaw Iselin (Angela Lansbury). She had an insatiable lust for power, describing the task and arrangements for him while seated next to his wife Jocie Jordan's (Leslie Parrish) giant Queen of Diamonds costume.

She explained how his mission was to assassinate the Presidential nominee during the political convention - a catastrophe that would advance Raymond's step-father Senator John Iselin's (James Gregory) political career and pave the way for a legal takeover of the White House. She described her motivations:

I fought for them. I'm on the point of winning for them the greatest foothold they would ever have in this country. And they paid me back by taking your soul away from you. I told them to build me an assassin. I wanted a killer from a world filled with killers and they chose you because they thought it would bind me closer to them. But now, we have come almost to the end. One last step. And then when I take power, they will be pulled down and ground into dirt for what they did to you. And what they did in so contemptuously under-estimating me.

As a symbol of her sincerity and love, she held both sides of his face with her outstretched claw-like fingers while smothering him with kisses on his forehead and right cheek. She ended with a seductive, incestuous warm kiss on his lips

Two For the Seesaw (1962)

Kisses To Prove Manhood After Being Accused of Being Queer

Director Robert Wise's psychological romantic drama was adapted from William Gibson's 1958 two-character Broadway play (originally starring Henry Fonda and Anne Bancroft).

Temporarily-unemployed, embittered, lonely and divorcing Nebraska lawyer Jerry Ryan (Robert Mitchum) struck up a conversation with candidly-liberated, Bronx-born, 29 year-old Jewish Greenwich Village professional dancer Gittel 'Mosca' Moscawitz (Shirley MacLaine).

In the middle of a lengthy discussion in her apartment about their lives, she asked whether he was "peculiar" or "queer" - he proved that he wasn't with a passionate smooch:

Mosca: "But what do you think, I'm peculiar or something? Hey, are you?"
Ryan: "Am I what?"
Mosca: "Queer."
Ryan: (He turned and walked over to her) "Now you've gone too far." (He kissed her)
Mosca: "Brother, how long have you been on the wagon?"
Ryan: "A year."
Mosca: "Where ya been, in jail? (after another lengthy kiss) Look, let's not get all worked up, huh? You go have a cookie and calm down, and then you better go."
Ryan: "Go? Why? Was that the wrong false move?"
Mosca: "No, Jerry. Oh look, I got an iron-clad rule. I wouldn't sleep with Christopher Columbus on the first date. What do you want me to be, promiscuous? Aw, besides, this-this routine you've been givin' me. If you wanted to be turned down, you couldn't have planned it better. You're testing, how do you like that? And you know who you're testing? Not me. You wanna find out how you feel. That's a make!? Why should I hop in the hay with ya, a cure for your health for a fella I don't even know what's eating him? I tell you my whole life story practically, and what do I hear out of you? No news at all."
Ryan: "All right, The news is very sparse, but here it is. I had a job, a house, a marriage and a life. They all went sour on me. So much for the past..."

From Russia With Love (1963)

"The Right Size" Mouth Kiss

Ian Fleming's 1957 novel (his fifth) was the basis for this second James Bond spy-thriller in the series. The 007 agent, SPECTRE's target for killing Dr. No in the first film, was dispatched to Turkey.

Corporal Tatiana ("Tania") Romanova (Daniela Bianchi), a Soviet consulate cipher clerk, employed in a SPECTRE plot to kill Bond (Sean Connery), first encountered the 007 agent in his Istanbul, Turkey hotel suite one evening. She awaited him naked in bed (wearing only a sexy black velvet choker), and was pretending to defect and claimed she was in love with him.

After being introduced, he complimented her on her beauty, but she confessed: "I think my mouth is too big." Bond replied, before kissing her: "No, it's the right size. For me, that is." There was a large close-up of her inviting red lipsticked lips, behind which she slightly moved her tongue.

Bond approached for a kiss, and afterwards as they continued kissing, he asked: "Yes. Is it here?...The decoding machine. The Lektor." In regards to the cryptographic device, she replied: "Must we talk about it now?"

He nuzzled her neck and persisted: "Or is it at the Russian Consulate?" She was frustrated by his single-minded approach: "Why don't you ask me that later?", and hugged him.

When he told her: "I hope you're not disappointed," she promised as she sank back on the pillow: "I will tell you in the morning." He swooped in for another kiss. He was unaware that the two of them were being filmed by SPECTRE assassin Donald "Red" Grant (Robert Shaw) and evil SPECTRE No. 3 Colonel Rosa Klebb (Lotte Lenya) through a one-way mirror at the head of the bed to create a sex scandal.

Kiss (1963)

Non-stop Kissing

Andy Warhol's 54 minute underground 16 mm. experimental film consisted entirely of a series or montage of shorter (approx. 3 minute) films spliced together of various couples (of various sexes) kissing.

Each segment was filmed in long takes. Sometimes the gender of a kisser was undetermined.

Goldfinger (1964)

Persuasive, Manly Heterosexual Kisses

Ian Fleming's 1959 novel (his seventh) was the basis for this third James Bond spy-thriller in the series.

Lesbian-leaning blonde Pussy Galore (Honor Blackman), aptly named, was the personal pilot for gold-obsessed villain Auric Goldfinger (Gert Frobe). She was the leader and trainer of a team of all-female pilots dubbed Pussy Galore's Flying Circus. She often took a stance with her hands on hips, and when she took agent 007 James Bond (Sean Connery) on a tour of Goldfinger's compound and horse stable, he decided to offer his manly charms to her:

Bond: "You're quite a girl, Pussy." (He grabbed her) "What would it take for you to see things my way?"
Pussy: (resisting) "A lot more than you've got."
Bond: "How do you know?"
Pussy: (rejecting his heterosexual advances): "I don't want to know."
Bond: (forcefully pulling her to himself) "Isn't it customary to grant the condemned man his last request?"
Pussy: (aggressively) "You've asked for this!"

She took his arm and flipped him onto the hay, and then commanded: "Get up!" He up-ended her, and she landed next to him. He responded: "Certainly," stood up, and extended his hand to her, and then flipped her a short distance further into more hay, while quipping: "There, now let's both play."

She briefly held him off by wrestling against him, but then surrendered herself to his overpowering male sex appeal as he lowered himself down onto her and kissed her.

By film's end after she had helped save Bond and defeated Goldfinger's mad plot, they parachuted together to safety from a crashing jet plane due to rapid decompression (after Goldfinger's death when sucked out a window). Bond told her that she shouldn't signal for help from a search helicopter as he pulled her onto the ground: "Oh no, you don't! This is no time to be rescued." He covered the two of them with the parachute - for privacy's sake, as they kissed some more.

Marnie (1964)

Catatonic, Passionless Honeymoon Kiss

Winston Graham's 1961 English novel was the basis for director Alfred Hitchcock's psychosexual suspense-thriller, a tale of sexual perversity and obsession, about a suicidal and troubled female suffering from compulsive kleptomania and sexual frigidity (and problems with the color red), caused by a traumatic event from her past.

In a hotly debated scene, frigid con artist/thief Marnie/Mary Edgar (icy blonde Tippi Hedren) was on a honeymoon cruise to Fiji, after a hasty (blackmailed) marriage to her boss and new husband Mark Rutland (James Bond co-star Sean Connery). Mark was anxious and thought that they were off to a "dangerously poor start"; in their shared suite-cabin with two double-beds, Marnie was locked up in the bathroom for 47 minutes, and Mark was becoming impatient; after she appeared in a light-blue robe that fully covered her up to her neck, he said she looked "sexy" with her face cleaned.

Mark's Attempted Kiss

Cowering in a Corner of the Sofa

Mark Trying to Understand Her Aversion to Him - or to Men in General

As she sat on the bed next to him, he advanced toward her with the intention to kiss her, but she ran off: "I can't! I can't! I can't!...I can't stand it! I'll die. If you touch me again, I'll die!"; she cowered in a corner of a sofa, where he asked her to explain what her negative reaction to him was all about; she described how she never wanted to be touched intimately.

Marnie: "I told you not to marry me. I told you! Oh, God, why couldn't you have just let me go?...The only way you can help me is to leave me alone! Can't you understand? Isn't it plain enough? I cannot bear to be handled."
Mark: "By anybody? Or just me?"
Marnie: "You. Men!"
Mark: "Really? You didn't seem to mind at my office that day, or at the stables. And all this last week, I've, uh, handled you. Kissed you many times. Why didn't you break out in a cold sweat and back into a corner then?"
Marnie: "I thought I could stand it if I had to."

When he directly asked why she didn't want any male to touch her: ("Why? What happened to you?"), he also wondered if she ever tried to talk about it to a doctor or somebody who could help her; she had no definitive answer except to say that she thought marriage was wrong for her: "It's degrading. It's animal!"; he stated that there was obviously something wrong with her due to her persistent kleptomania; he called her a "tempting little thing" and that she should be grateful for his "permissive" nature unlike another "sexual blackmailer" who might ultimately end up sending her to jail.

After Denying She Needed Help, Marnie Turned Her Back on Mark

She denied needing help, when he prescribed that she might need a psychiatrist to sort out her problems of compulsive thievery and a hatred of men: ("I don't think you're capable of judging what you need"); she persisted in telling him: "There's nothing to talk out. I've told you how I feel. I'll feel the same way tomorrow, and the day after, and the day after that!", and turned her back on him. He promised and gave his word that he wouldn't demand sex from her, and wished that they would be "kind to each other" - and that they would now sleep in separate beds.

After a few days of abstinence, at bedtime, he was unable to hold back his desire to sleep with her and have sex, and he ferociously approached and insisted: ("I very much want to go to bed") - as she shrieked: "No!", he ripped off Marnie's nightgown (the silky garment fell to her feet), but then he stumbled out with an apology: ("I'm sorry, Marnie"), covered her nakedness with his own robe, as he continued to tenderly kiss the side of her face.

The sexually-frigid, prudish, and icy blonde Marnie remained very still and unresponsive as he caressed her face and continued to kiss her; she rigidly stared upward in a frozen, paralyzed catatonic state and did not return or reciprocate his amorous advances - completely passive and lacking any passion or emotion.

Marnie Stony-Eyed and Staring As She Laid Back on Bed

Mark's Face Filled the Entire Screen

The background behind Marnie changed as she descended backwards (and laid down on the bed), while Mark was atop her - his face filled the entire screen; and then the camera panned away to the left to their porthole (the question was left open as to what happened next - was she passively raped?).

The Umbrellas of Cherbourg (1964, W. Germ/Fr.), (aka Les Parapluies de Cherbourg or Die Regenschirme von Cherbourg)

Lovely, Vibrant, Colorful and Lyrical Kisses

In this heartbreaking and tragic cinematic opera/love story about star-crossed lovers set in 1957 Normandy, France, all of the dialogue was sung with a memorable musical score by composer Michel Legrand (including the ubiquitous love theme "I Will Wait for You").

In the film, the two lovers in the French port of Cherbourg were:

• 17 year-old boutique shop girl Geneviève (19 year-old Catherine Deneuve)
• lowly, 20 year-old auto mechanic Guy (Nino Castelnuovo)

Before he left on a train to fight in the Algerian War and not return for two years, the couple spent their last night together in the town of Cherbourg, where they professed their teenaged, emotional love in wonderful duet-singing while sitting in a cafe and walking arm in arm in the street:

Guy: "We have so little time left. So little time, my love, and we mustn't waste it. We must try to be happy. Of our last moments, we must keep a memory more beautiful than anything. A memory to help us live."
Genevieve: "I'm so afraid when I'm alone."
Guy: "We'll be together again, and we'll be stronger."
Genevieve: "You'll meet other women - you'll forget me."
Guy: "I will love you until the end of my life."
Genevieve: "Guy, I love you. Don't leave me! (They kissed in an alleyway.) My love, don't leave me."

When she confided that she was afraid, he confessed his love for her and they kissed again in front of a mirror in his aunt's apartment. They made love (and she became pregnant and gave birth during his time of service), and the love-sick Genevieve bid him farewell at the train station.

In the film's poignant and bittersweet conclusion five years later, the two married individuals (to different partners) had a chance meeting at his Esso gas station in Cherbourg - where Guy saw his daughter Francoise for the first time.

The Sound of Music (1965)

Young Love in a Gazebo: "Whee!" Kiss

Producer/director Robert Wise and 20th Century Fox musical has become one of the most favorite, beloved films of moviegoers. It is a joyous, uplifting, three-hour adaptation of Richard Rodgers and Oscar Hammerstein II's 1959 hit Broadway stage musical (that starred Mary Martin).

Young adolescents met in the bluish light of the evening, in the garden near the pavilion:

• 17 year-old boyfriend Rolf (Daniel Truhitte)
• 16 year-old Liesl von Trapp (Charmian Carr)

She had snuck outdoors to meet her shy boyfriend who was waiting for her. They sang of their innocent young, adolescent love on the brink of adulthood: "Sixteen Going on Seventeen," especially since Liesl was only 16, but was wishing to assert herself.

(Liesl) I am sixteen, going on seventeen. I know that I'm naive.
Fellows I meet may tell me I'm sweet, and willingly I believe.
I am sixteen, going on seventeen, innocent as a rose...
Totally unprepared am I, to face a world of men.
Timid and shy and scared am I, of things beyond my kin.
I need someone older and wiser telling me what to do.
You are seventeen, going on eighteen. I'll depend on you.

Thunder, lightning and rain forced them into the shelter of the gazebo where they continued singing and dancing in a magical sequence.

At the conclusion of their duet, they finally kissed just once to their mutual surprise - in reaction, Rolf raced rapturously from the gazebo, while Liesl exclaimed triumphantly with her arms outstretched: "Whee!"

The Sound of Music (1965)

"Can This Be Happening to Me?" Kiss

The second major kiss in the beloved musical was between the two main adult characters, also in the gazebo. After breaking off his engagement with wealthy Austrian Baroness Elsa Schraeder (Eleanor Parker), widowed father Captain Von Trapp (Christopher Plummer) followed after despairing and confused postulant nun/governess Maria (Julie Andrews) by the pavilion and asked two questions:

• "Why did you run away to the Abbey?"
• "What was it that made you come back?"

According to Maria, she "had an obligation to fulfill and I came back to fulfill it...And I missed the children." He explained that "nothing was the same" when she was away and "it'll be all wrong again" after she leaves again. He attempted to persuade her to change her mind and stay longer. And then he told her that his engagement to the Baroness was off:

"There isn't going to be any Baroness...well, we've, uhm, called off our engagement, you see...Well, you can't marry someone when you're in love with someone else. Can you?"

He held her tenderly by the chin and drew her lips nearer for a kiss. Relieved, Maria had her prayers answered:

Maria: "The Reverend Mother always says, 'when the Lord closes a door, somewhere he opens a window'."
Captain: "What else does the Reverend Mother say?"
Maria: "That you have to look for your life."
Captain: "Is that why you came back?" (She nodded) And have you found it Maria?
Maria: "I think I have. I know I have."
Captain: "I love you."
Maria: "Oh, can this be happening to me?"

As they were reunited and now free to express their love, they both sang: "Something Good" - about being rewarded for something good they did in the past. Soon after, they were married.