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Victor Buono

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Dave Willock

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Frank De Vol

Joseph F. Biroc

Michael Luciano

Lukas Heller

William Glasgow

Raphael Bretton

Norma Koch

Robert Gary

John LaSalandra

Gene Hibbs

William McGarry

Sam Strangis

William F. Sheehan

Adell Aldrich

Herman Lewis

Bernard Freericks

Robert Sherman

Albert Woodbury

Mack David

Walter Blake

Jack R. Berne

Al Martino

John Orlando

Evelyn Finley

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Dangerous. Damaged. Aging. Unhinged. Psycho-biddy films, sometimes referred to as “hagsploitation,” “granny slashers” and "grand dame guignol," are a subgenre of horror/thriller movies that feature an older (often wealthy) woman who is in a state of violent psychological distress. A younger female relative or caretaker may trigger memories of their haunted past, driving them to the brink of insanity. 

Madness, paranoia, and control, are common themes, with the elder female protagonists portrayed as haggard, demented, and unattractive. 

As Hollywood shifted from the old era to the new in the 1960s, the actresses that dazzled in the Golden Age of Hollywood as romantic leads and heroines became too old for producers to know how to market them. A new trend took over in which aging stars began appearing in self-referential roles, inhabiting caricatures of their former public selves. 

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Unearth the best 1960s movies ever and you’ll see the decade started off screaming. Psycho titillated audiences showing Janet Leigh in a bra before serving up one of the most shocking death scenes ever committed to screen – it still shocks some 60 years later. Both Psycho and Peeping Tom released the same year and both share comment on voyeurism, with the latter going as far as implicating the viewer in its POV murder shots. Introducing such a lurid concept was enough to get Peeping Tom pulled from theaters, and all but killed director Michael Powell’s career.

The introduction of the Oscar for Best Foreign Language Film in the late ’40s created a new palate for international cinema, and while the ’50s were filled with prestige pics like The Seventh Seal and Seven Samurai, genre movies from abroad began to light up theaters. This includes horror classics like Eyes Without a Face, Kwaidan, Black Sunday, Blood and Black Lace, and Hour of the Wolf. And after ramping up in the ’50s, British horror entered a prestige era with The Haunting, House of Usher, The Devil Rides Out, and Village of the Damned.

By 1968, the Hays Code (which delineated what violence, sex, and themes could be depicted on American screens) was all but gone, and that same year The Night of the Living Dead birthed a new age of independent cinema and the zombie genre itself. Speaking of birth: Rosemary’s Baby also came out in ’68, capping a decade of memorable psychological thrillers like The Innocents, What Ever happened to Baby Jane?, Persona, and Seconds.

To compile this list of ’60s horror, we took every Fresh and Certified Fresh movie and then sorted them using our ranking formula, which takes into account a movie’s number of reviews and its year of release. Now, read on for the best 1960s horror movies!

THE 55 BEST 1960S HORROR MOVIES

Hush... Hush, Sweet Charlotte

The Associates & Aldrich Company

20th Century Fox

United States of America

Glorious Southern Gothic Delirium.
 
Hush…Hush, Sweet Charlotte is directed by Robert Aldrich and written by Henry Farrell and Lukas Heller. It stars Bette Davis, Olivia de Havilland, Joseph Cotton, Agnes Moorehead, Cecil Kellaway and Mary Astor. Music is by Frank De Vol and cinematography by Joseph F. Biroc.
 
It’s 1927, the Louisiana plantation home of Sam Hollis (Victor Buono), and Charlotte Hollis (Davis) is having an affair with a married man, John Mayhew (Bruce Dern). After a heated argument between Sam and John, John is brutally slain by an unseen assailant, only Charlotte appears on the scene covered in blood. Then it’s the present day and just Charlotte and her house keeper, Velma (Moorehead) live at the Hollis mansion, Sam having passed away many years ago. Charlotte is mentally scarred from the echoes of the past, she’s a recluse and seen by the townsfolk as the local mental case. As developers try to plough a road through the Hollis home, Charlotte sends for her cousin Miriam (Havilland), but then strange things start happening and Charlotte might once and for all tip over the edge.
 
A bit long at 2 hours 13 minutes and a bit too bonkers at times, Hush…Hush, Sweet Charlotte still comes out as glorious Guignol entertainment. The setting is perfect, a Baton Rouge locale of whispering trees and ominous foliage, the Hollis mansion a place of dark secrets, shadowy halls and mental disintegration. Biroc’s black and white photography seems to revel in the misery and emotional turmoil that blows about the place, and the brilliant Aldrich unleashes delirious turns from Davis and Moorehead as the others play perfectly restrained foil. There’s a strong mystery element driving the plot forward, because what we think is true may not actually be the case? The narrative deftly reveals back stories as film progresses, hints at means and motives dangle tantalisingly in the Gothic tinged air, and then the finale doesn’t disappoint, it has some surprises in store and closes the picture down handsomely.
 
Best served with a good helping of Sour Mash, Hush…Hush, Sweet Charlotte is Southern Gothicana with bells on. Or should that be Belles? 8/10

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Hush... Hush, Sweet Charlotte ≣ 1964 ≣ Trailer #2

Hush... Hush, Sweet Charlotte ≣ 1964 ≣ Trailer #1

HUSH.HUSH, SWEET CHARLOTTE (Masters of Cinema) New & Exclusive HD Trailer

Hush... Hush, Sweet Charlotte

The years will soon erase a lover's lies...the blood on his face!

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