Exploring the 1965-1967 AMC Marlin

Following the success AMC enjoyed in the late 1950s and early 1960s, the company sought to expand its offerings and compete more directly with the Big Three. This led to the development of the 1965-1967 AMC Marlin fastback. The following pages delve into the story of the AMC Marlin.

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It was the day after Roy Abernethy was elected president of American Motors. George Romney, who had gained prominence at AMC for challenging the 'gas-guzzling dinosaurs' of the Big Three with the compact Rambler, had just left to take on the role of Governor of Michigan. In response to the leadership change, a radio station in Kenosha, Wisconsin, requested a recorded statement from Abernethy about the new challenges ahead. During the interview, Abernethy made it clear that he wanted to move away from Romney's image of AMC.

Abernethy joined Nash Motors in 1954 after a successful tenure with Packard and later with Kaiser-Willys. At AMC, he quickly earned admiration for building the sales organization that drove the success of the company during the Romney years, which were among the most prosperous in the corporation's history.

What exactly did Abernethy mean when he spoke about shedding Romney's image? Roy had once shared with a large dealer audience that his son wished for American Motors to 'move out of the right lane and build a sports-type car.' Roy, always loyal to Romney, had humorously replied, 'Well, I told my son he ought to know which side of his bread the butter was on.'

But with Romney gone, everything changed. Abernethy took charge, making no secret of his belief that the company would be far better off if it offered a range of larger, more powerful vehicles and sports models to compete directly with the Big Three. The 'Romney image' had been about avoiding confrontation with major competitors by focusing on compact and small cars, carving out a unique position in both domestic and international markets.

Abernethy believed George would never approve of him adding a V-8 engine to the [Rambler] Classic. George thought the Ambassador should not surpass the Classic in size and was opposed to offering convertibles in the larger series. He also doubted the necessity of a new V-8 engine, but Abernethy made the decision to move forward with a change.

By the time the new Rambler Classic and Ambassador for 1963 were finalized, and the tooling for the new Rambler American had already been set for 1964, there was little Abernethy could do to alter them or extend the Ambassador's length.

However, with 1965 on the horizon, Abernethy began to make changes. With backing from chairman Richard E. Cross and the Board of Directors, he ordered significant styling updates across all series and the inclusion of convertibles (for the first time) for the Classic and Ambassador.

The Ambassador was also designed with a longer wheelbase to distinguish it from the Classic and elevate its market position. Lastly, Abernethy approved a shift in the advertising approach, aiming to add some flair to AMC's image. As a result, the 1965 lineup was dubbed 'The Sensible Spectaculars'—whatever that meant.

Richard A. Teague's design team began working on creating a sporty fastback for AMC. Continue to the next page to explore the development of the AMC Tarpon and Marlin models.

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The Development of the AMC Tarpon and Marlin

Richard A. Teague's design team embarked on creating an entirely new concept for AMC—a sporty fastback. This effort culminated in the development of the AMC Tarpon and Marlin models.

Early in his AMC career, Richard realized that the company wasn't willing to invest millions in new tooling. However, the executives were open to creative uses of existing tooling and spin-off ideas. This approach played a key role in the creation of the Tarpon, which eventually led to the Marlin.

The Tarpon was first unveiled at the national convention of the Society of Automotive Engineers in Detroit's Cobo Hall in January 1964. While the event was closed to the public, AMC's public relations team made a grand announcement, almost as if the car were entering immediate production.

The Tarpon featured a distinct interpretation of the fastback design. It was a two-door hardtop built on the Rambler American's 106-inch wheelbase and was only 180 inches long. A striking gold-flecked vermillion paint job highlighted the 13-inch aluminum wheels, emphasizing the car's sleek, low-profile 52.5-inch-high silhouette.

To convey a sense of speed from the front, the special show model featured a sharply angled, compound-curved windshield. From the rear, its wedge-shaped roof, large skylight rear window, and massive rectangular taillights were particularly striking.

The Tarpon's instrument panel was equipped with a full set of dial instruments, all protected by a deeply padded safety hood. Enhancing the sporty feel was a sports-car steering wheel made from spring aluminum, featuring a recessed hub and a rim adorned with natural walnut.

Both Abernethy and Thomas A. Coupe, the sales vice-president, were enthusiastic about the new design. However, they were cautious in expressing their excitement, knowing that profits were driven by actual products on the road, not by concepts displayed on turntables at special shows.

Abernethy emphasized that the Rambler Tarpon was a 'styling study meant to showcase the advanced design work of the company's stylists who were responsible for the record-selling 1964 line of Rambler Ambassadors, Classics, and Americans.'

Abernethy recognized that the Tarpon was contributing to the shift in the 'Romney image,' and thus approved a limited showing of the car in select major cities. Gene Swaim, AMC's director of automotive public relations at the time, remembers that the Tarpon's first public showing took place in Los Angeles. He and Tom Coupe were in San Francisco for the second exhibition when the tour was abruptly stopped. 'We were told in no uncertain terms,' says Swaim, 'that the Tarpon was not the direction to take.'

Ultimately, it had already been decided to develop a larger version of the compact Tarpon. As Dick Teague, who is now retired and living in Fallbrook, California, explained, 'Abernethy had determined that instead of a 2+2, we would create a 3+3 sports-type car.' So, the stylists designed a bigger fastback, which was named the Marlin. Incidentally, Teague was responsible for naming both the Tarpon and the Marlin.

Proceed to the next page to discover more about the numerous features of the AMC Marlin.

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Features of the AMC Marlin

The official debut of the new AMC Marlin was announced on February 10, 1965, and it was revealed in dealer showrooms on March 1. The Marlin offered a range of premium features.

The Marlin stood 1 1/2 inches taller than the Tarpon, stretched 15 inches longer, measuring a total of 195 inches, and shared its 112-inch wheelbase with the Classic. While it was fundamentally a Classic with a fastback roof, the Marlin was marketed as a distinct model, featuring unique rear fenders, taillights, grille (essentially a Classic grille with the vertical bars removed), and a custom hood ornament.

With space for six passengers, the Marlin came equipped with numerous deluxe features, including standard power disc brakes, reclining individual seats, and AMC's 232-cubic inch, 145-horsepower six-cylinder engine. For those desiring a sportier performance, two V-8 options were available: a 287-cubic inch engine with 198 horsepower, or a 327-cubic inch unit delivering 270 horsepower.

The Marlin's options list also included a heavy-duty suspension and the Twin-Grip differential. In its basic form, the Marlin was priced at $3,100, slightly higher than the Classic 770 hardtop, which was priced at $3,063 for the six-passenger version and $3,089 for the 770H with bucket seats.

In the official press release announcing the Marlin, Coupe was quoted saying, 'The new car is designed for those who want a sporty fastback combined with roominess and comfort.' This almost seemed like an apology, given that surveys had revealed sports car enthusiasts typically prioritized sleek design and high performance over roominess and comfort.

Bob Nixon, currently the chief of Jeep design for Chrysler, was part of the Marlin project team, alongside Vincent Geraci, Fred Hudson, Neil Brown, Don Stumpf, and Jim Pappas, all working under Teague's guidance. Nixon famously said that their challenge of creating a sporty fastback based on the Classic platform was 'like trying to build a Corvette on a Buick sedan body. It just doesn't work.' He ultimately dismissed the Marlin project as an 'ugly embarrassment.'

Geraci, now chief of product design and product identity at Chrysler, was somewhat more diplomatic. He described the project as 'exciting,' noting that 'we took a 1965 body design and turned it into a sportier version.' However, he admitted that enlarging the car from its original concept, the Tarpon, and raising the roof, negatively impacted the car's overall look. He also acknowledged the challenge of fitting sedan-type seating into a car meant to have a sportier feel.

Turn the page to explore the mixed reactions from the press regarding the AMC Marlin.

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Press Response to the AMC Marlin

The press response to the AMC Marlin was a mix of praise and criticism. Many reviewers admired its dual master cylinder braking system and its eye-catching interior. The San Francisco Chronicle described it as 'an exceptionally good road car... cruises effortlessly at 80 mph.' Meanwhile, the Camden, New Jersey, Courier-Post called the Marlin 'beautifully designed with features not often found in fastback models.'

Motor Trend, which had previously named the 1963 Rambler 'Car of the Year,' remarked thoughtfully, 'A very well-balanced car that completes the variety of personal performance sports cars available.' The Indianapolis News noted, 'American Motors Corp. startled car enthusiasts with the Rambler Marlin, the latest mid-year model designed for sports-oriented drivers.'

It was Automobile Quarterly, a publication known for its focus on praising classic, limited-edition cars, that sharply criticized the Marlin. Malcolm J. Brookes described it as 'the ugliest car ever produced by Detroit.' He criticized its 'unpleasant shape,' 'small rear-view window,' poor placement of the steering wheel and brake lights, overly soft front seats, and badly designed pedals.

Despite the harsh critiques, the Marlin was not a complete failure. In 1965, the 10,327 Marlins produced contributed to a $5.2 million profit for AMC that year, even with a three-week strike by the United Auto Workers in the fourth quarter. Rambler sales for the year totaled 412,736 units, with Ambassador convertibles making up 3,499 and Classic ragtops accounting for 4,953 — not exactly evidence that open models would significantly boost overall sales.

As American Motors entered its 1966 fiscal year, the company faced potential challenges. Industry-wide car sales were sluggish, and AMC was facing losses. In June, Robert B. Evans was appointed chairman of the board, succeeding Cross, who remained as a director and chairman of the executive committee.

The 1966 Marlin featured only minor updates. Public relations struggled to generate enthusiasm with changes like an updated extruded aluminum grille, a sway bar added to the six-cylinder models, and the option of a black vinyl-covered roof. To try and boost sales, the price was lowered to $2,601 by removing previously standard features, such as power brakes, and the Rambler name was removed from the car's rear.

Despite the price cut, only 4,547 Marlins were produced for the model year. AMC's overall car production also took a hit, dropping to a disappointing 279,225 units. The company reported a loss of $12.6 million for the fiscal year. By the end of September, Roy D. Chapin, Jr. was promoted to executive vice-president and general manager of the automotive division.

The Romney image was rapidly fading away.

In 1967, the AMC Marlin underwent a restyling. Continue on to the next page to learn about the changes.

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Restyling of the 1967 AMC Marlin

In the 1967 fiscal year, something rather odd occurred with the Marlin – it grew larger, now built on the 118-inch wheelbase of the Ambassador. This development seemed even stranger considering that the company had already planned to discontinue the fastback after the 1967 model year.

In the 1967 fiscal year, the Marlin became even bigger, built on the Ambassador's 118-inch wheelbase. This move seemed strange, especially given that the company had already planned to phase out the fastback after 1967. Regardless, the car's overall length increased by 6.5 inches to 201.5 inches, and at 78.4 inches, it was four inches wider, contributing to a more spacious interior.

"Even with bucket seats, there's ample space for six passengers," the sales brochure boasted. It featured entirely new sheet metal below the beltline, a fresh "black anodized grille with twin rally lights," a sleeker rear deck, and a stronger focus on luxury: "The allure of a fastback, the luxury of an Ambassador." All this came for $2963, a $362 increase over 1966.

The luxury features included "thick, loop-pile carpeting; upholstery fabrics covering coil spring seats; a padded acoustical ceiling with a soft suede-like appearance; a padded instrument panel stretching from door to door"; and, "The luxury of a new suspension system and wide road stance that tames the roughest backcountry roads, delivering a smooth, civilized ride."

On the sporty side, the Marlin offered "options you’d expect in a fastback sports car: a sports steering wheel; Typhoon V-8 performance; four-on-the-floor transmission; vinyl or fabric reclining bucket seats; electric tachometer; power disc brakes."

All in all, the 1967 Marlin was a beautiful car, largely due to the more curvaceous styling and "Coke-bottle" flanks that blended more seamlessly with the fastback roofline. It was "the best looking Marlin we built," according to Teague. Unfortunately, the new styling didn’t translate into sales, which fell to a disappointing 2,545 units.

In early January of 1967, Abernethy left American Motors. The board of directors selected Chapin as chairman and CEO, and appointed William V. Luneburg as president and chief operating officer. Evans stayed on as a director. Additional management changes followed, and AMC hired a new advertising agency, Wells, Rich, Greene, Inc. However, despite these efforts, as well as the sale of the Kelvinator appliance division to White Consolidated Industries, AMC continued to face massive losses. For the year, only 229,058 cars were produced, and AMC reported a staggering $75.8 million loss.

To boost sales, the 1967 Marlin was built on the Ambassador chassis. Many believed that the longer hood and more sculpted sides worked better with the fastback roofline.

The Marlin was discontinued. Abernethy was gone. The Romney image had faded into history.

Production of the Marlin reached 10,327 units in the second half of 1965, but plummeted to 4,547 units for the entire 1966 model year, and further dropped to just 2,545 units in 1967. However, AMC had plans for a new sporty car in 1968—the Javelin was on its way.

By September 1988, the Kenosha assembly and stamping operations would be gone, marking the end of an 86-year legacy that began in 1902 with the Jeffrey Motor Company. After Chrysler acquired AMC in 1987, the company, like the rest of the industry, was grappling with declining sales and production overcapacity. Chrysler had announced late in 1987 that at least one plant would need to close. Kenosha, the oldest automotive plant in the industry, was eventually chosen for closure due to its outdated multistory layout. Despite this, the Kenosha plant went out with pride—it had built the highest-quality cars in the entire Chrysler empire.

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Marketing the AMC Marlin

In promoting the AMC Marlin, American Motors capitalized on the car's mid-year release, taking advantage of the reduced competition for attention.

A comprehensive advertising and marketing campaign unveiled the new car in the spring of 1965. Along with ads in 2,400 newspapers on the announcement day, March 19, full-color spreads appeared in major magazines like Life, Saturday Evening Post, Look, and others. Marlin TV commercials were aired on CBS's Danny Kaye Show, and 72 radio spots were broadcast on NBC's Monitor programs. Additionally, the Marlin graced the covers of several car enthusiast magazines, including Motor Trend.

Millions of Americans got their first look at the Marlin on display in prominent U.S. airports. E.B. (Barney) Brogan, the advertising manager for Rambler, handled the arrangements for leasing airport lobby space for the large turntables that showcased the Marlin. (A few years later, Brogan would leave AMC for a similar role at Toyota.)

Some AMC executives expressed concerns about the intense focus on the Marlin, noting that the public remained largely unaware that 1965 also marked the launch of completely redesigned Ambassador and Classic convertibles, a bold shift from the company’s previous conservative image. Additionally, the revamped Ambassador, for the first time since 1960, was built on a longer wheelbase than the Classic.

During this time, AMC's design team also introduced two flashy show cars under the Rambler name. One of them was the Black Marlin, which toured the 1965 auto shows accompanied by attractive women dressed in sailors' outfits. The car, painted a glossy black, likely aimed to evoke the image of the black marlin, a large, sleek deep-sea fish found in the Pacific.

The second model, the Tahiti, debuted at the 1966 Detroit Auto Show. This custom car featured "bright South Seas floral upholstery," complemented by matching throw pillows, and was finished in a striking fireflake blue.

Two relatively minor promotional items tied to the 1966 Marlin are particularly intriguing to today's literature collectors. One was a distinctive three-dimensional color postcard. When viewed at a specific angle under light, the card, created using the Xograph process, depicts a realistic white and blue Marlin parked next to a red Ambassador 990 convertible.

The other promotional item was a 1966 Marlin plastic model, available in a range of single and two-tone color combinations. These models are now highly sought after, not only for their visual appeal but also due to their rarity. This scarcity arose because, toward the end of the 1966 model year, numerous cases were donated to children’s hospitals and orphanages. However, as there was little dealer demand, thousands of models were left unsold.

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