The 1965 Newport is an important car for Chrysler because it propelled the brand to record-breaking sales. That, in turn, made Chrysler a force to be reckoned with in the premium-priced, big-car field for the first time.
In previous years Chrysler had languished in the back of the pack. Even in the heady days of 1955 the brand sold less than half as many cars as Mercury, which badly trailed General Motors’ triumvirate of Pontiac, Oldsmobile and Buick.
Part of Chrysler’s problem had been internal competition. That was mostly resolved when Dodge began to compete in the low-priced field beginning in 1960 and DeSoto was killed during the 1961 model year. This gave Chrysler room to shift down a notch in 1961 with a new entry-level series called the Newport.
Newport hits its stride in fifth year of production
The Newport immediately bolstered Chrysler sales but didn’t really hit its stride until 1965. That may have been partly because of booming auto industry sales, but the Newport also benefitted from a dramatically redesigned body.
The new Chryslers were much more angular than GM’s models, but they were still quite attractive. Indeed, Paul Niedermeyer (2021) has described the 1965 Chrysler New Yorker as “the last great Chrysler.”
I have previously suggested that at least some of the 1968 models were also worthy contenders for the “peak Chrysler” crown (go here), but the 1965 design is arguably among Elwood Engel’s best efforts while leading the automaker’s design department from 1961-73 (Wikipedia, 2021).
One of the most striking aspects of the 1965 Newport is how different it looks from previous years. Whereas the 1963-64 models were unusually clean and understated, Engel oversaw the development of a fairly “busy” design.
Pretty much wherever you look the Newport two-door hardtop featured in this story has complex stylistic detailing. That starts with the front end, where the fender edges tilts backward whereas the grille slants forward.
Even the base Newport was more chromed up than in 1964, with larger bumpers and fenders edged with brightwork, which Richard M. Langworth described as “an Engel trademark” (1993, p. 172).
The rear end was also much more complex, with rounded contours dressed up with small fins at the top and bottom of the fenders.
Note how the taillights are curved and wrap up into the fender sides at an angle. This serves to make the rear end look less ponderous than in subsequent years, when boxier shapes were used.
Chrysler mostly throws away its design language
The 1965 Newport’s design language was so different that you would have been hard-pressed to recognize it as a Chrysler when seeing the car for the first time.
On the outside, the only styling cue carried over from the past was a grille that had a trapezoid shape vaguely evoking the 1961-64 models. On the inside, an instrument cluster had similarities to the “Astra Dome” single-pod arrangement used from 1960-62.
The rest of the Newport’s interior had a typical Chrysler design from that era, with lots of angular surfaces and an airy look because of the large glass area.
As an entry-level model, the Newport’s interior trim was much plainer than the top-of-line New Yorker. Whereas the Newport two-door hardtop listed for $3,070, a New Yorker went for $4,161.
Newport challenges entry-level Oldsmobile and Buick
The Newport’s most direct competition was the Oldsmobile Dynamic 88 and the Buick LeSabre. For 1965 Newport production jumped 48 percent to almost 126,000 units. That was within reach of the LeSabre’s almost 143,000 units but farther behind the Dynamic 88’s almost 182,000 units.
Also see ‘The 1969-73 Chrysler wasn’t a disaster, but it wasn’t a success’
For 1966 the Newport would do even better, hitting an all-time record of roughly 168,000 units. That actually beat both the LeSabre and the Dynamic 88. Chrysler was on a roll . . . but it wouldn’t last.
NOTES:
Production figures and prices were from Gunnell (2002) and the auto editors of Consumer Guide (1993, 2006).
Share your reactions to this post with a comment below or a note to the editor.
RE:SOURCES
- Auto editors of Consumer Guide; 1993, 2006. Encyclopedia of American Cars. Publications International, Lincolnwood, IL.
- Gunnell, John; 2002. Standard Catalog of American Cars, 1946-1975. Revised Fourth Ed. Krause Publications, Iola, WI.
- Langworth, Richard M.; 1993. Chrysler & Imperial 1946-1985: The Classic Postwar Years. Motorbooks, Minneapolis, MN.
- Niedermeyer, Paul; 2021. “Curbside Classic: 1965 Chrysler New Yorker – The Last Great Chrysler?” Curbside Classic. Posted April 17.
- Wikipedia; 2021. “Elwood Engel.” Page last edited Nov. 18.
ADVERTISING & BROCHURES:
- oldcarbrochures.org: Chrysler (1964, 1965, 1966, 1967, 1968)
What is the purpose of the metal strip on the floor of the passenger’s compartment?
Kim,
It’s a dividing line between the carpet on the floor and the carpet on the side of the center console. The angle of the photo makes it look weird, but when seen in person it’s OK.
Remember that the 1965-1968 Chrysler Corporation full-size cars were the first clean-sheet cars that were NOT restyles of what Virgil Exner, Sr. put in the pipeline. The 1963-1964 Chryslers had the Exner 1962 “S-car” design philosophy in their bloodlines that was inspired by the 1960 Valiant. The first hint at what Elwood Engel had in mind was the 1963 Turbine Car (“The Engelbird”). I also recall that in both mid-1965 and mid-1966, Indianapolis Chrysler-Plymouth dealers were touting brand-new specially equipped Newport sedans for the “Spring Special” price of $ 2,964.00, which must have driven the area Dodge dealers crazy. Of course, after 1966, the big Chrysler’s quality began its long decline into the swamp.
I’ve owned multiple 1963 to 1965 Chryslers, including a ’63 300 Sport convertible, ’64 300 K hardtop, and ’64 New Yorker Salon with all options including dual A/C. The convertible was a lot of fun to go cruising when the weather was nice, the letter series car was crazy-fast, and the Salon was a great long-distance tow car. I also had a light blue ’65 300 4-door hardtop [ho-hum], and a fully optioned black New Yorker 6-window sedan with the hi-po 413 that was a pleasure to drive. [Also had a ’65 Ghia Imperial limo with the Police 413 dual point engine, the fastest limousine I’ve ever driven!]
Both the early and late versions were incredibly reliable, and for size, gave great MPG in long distance touring. Yes, the new ’65 styling was a welcome and fresh look when new, but today the earlier cars seem to gather more public interest at car shows, I guess because they have a more unusual [aggressive?] look.
If I was given the choice of an identical 1964 or 1965 Newport, I’ll take the ’65, mostly because the interior sound levels seem to be quieter.
This is one of those cars that, considered out of its time, is quite stunningly attractive. It’s only when you consider it in the context of what else was in the showrooms that year, that the cracks start to appear. Like that red Pontiac in your comparison photo. That or the Chrysler…..?
Don’t get me wrong. I love these cars, the design just looks so clean, prestigious without resorting to hackneyed cliches. I saw a ’65 wagon in the street last year, and was quite taken with its presence, the low waistline, the large glass area, the overall sense of aesthetic ‘rightness’. And it’s only when you look closely that you realize how much thought has gone into the design – as you point out with the grille angle vs. fender angle, and the curved taillight ends, details I hadn’t prev iously been conscious of.
What a shame this came up against GM’s ’65 cars. I’d prefer the clean understated lines of the Chrysler, but I can understand why buyers might have looked more to GM’s designs.
Yes. It’s certainly a design I have grown to really admire, both inside and out. I remember as a very young car nut, however, at the time, that our neighbor’s new 65 Chrysler looked so much boxier to me than our new Buick LeSabre. I think the large upright greenhouse and thin pillars reminded me of the 61 Impala we’d traded in and therefore I discounted it so much in my mind.