In my last blog piece I wrote about my hike on the Appalachian Trail. I talked about people’s fears of being in the woods at night, and I name-dropped a few scary movies with outdoor “creatures.” One movie I omitted was George Romero’s NIGHT OF THE LIVING DEAD, about a bunch of zombies who terrorize a young couple. I also forgot to mention an eye-catching t-shirt I saw on my hike. It was worn by a bored-looking teenage girl who was hiking with her family. It said: “I Can’t Wait for the Zombie Apocalypse.”
Zombies are trendy these days for some inexplicable reason. By “Zombies,” I don’t mean the British rock band from the ‘60s. I’m talking about people who walk around in a daze, moaning, with their arms held straight out (kind of like Cleveland sports fans). I’m not sure why zombies are so popular. But I do know that scary movies never seem to go out of style.
Janet Leigh in the now-classic shower scene of “Psycho”
The ball got rolling in the 1920s with THE PHANTOM OF THE OPERA, starring Lon Chaney. In the 1930s came Tod Browning’s DRACULA and FREAKS, and James Whale’s FRANKENSTEIN. Monster movies became increasingly prevalent (and low-budget), hitting rock-bottom in the ‘50s with the movies of “The Worst Director of All Time,” Edward D. Wood, Jr. But Alfred Hitchcock, “The Master,” soon rescued fright flicks with psychological thrillers like PSYCHO and THE BIRDS. Most horror flicks today, unfortunately, spring from the Wes Craven and John Carpenter school of fright. They’re loaded with shocks and violent bloodletting, but have little Gothic or psychological horror.
Hitchcock and the 1960s were possibly a high-point for horror flicks. For this article, I’ve chosen five movies from the ‘60s that I consider some of the best horror flicks of all time, but which don’t get viewed much anymore. They’re very psychological. They start slowly and build in suspense, methodically drawing the viewer into the maelstrom. By the end of the movie, one feels drained. Some of them, like THE HAUNTING and REPULSION, can worm their way into your dreams. Or nightmares..
So here they are, listed in order of their release. If you haven’t seen these movies and enjoy the stuff of nightmares, I guarantee you won’t be disappointed. Make sure you watch these at night. But a word to the wise: DO NOT WATCH THESE ALONE!
VILLAGE OF THE DAMNED (1960, starring George Sanders): Residents of a rural English village one day fall asleep at the same moment. When they awake, things are different. Women become pregnant at the same time. The children born to them all have blond hair, hypnotic eyes, and are emotionally frigid. As they grow, they begin to huddle together privately, away from the other children. But this is only the beginning of the horror.
The movie is adapted from a novel called “The Midwich Cuckoos.” I saw it as a kid and had to sleep with my parents for several nights (the kids in this movie were far scarier than the bully down the street). Most children are innocent and playful. But these “creatures” are just the opposite: they’re abnormally intuitive, and they never smile. Whoever said “blondes have more fun” didn’t see this movie.
NOTE: John Carpenter remade this movie in 1995, and there’s a sequel to the original called CHILDREN OF THE DAMNED (1964). But the original’s the one to watch.
THE INNOCENTS (1961, starring Deborah Kerr and Michael Redgrave): All the right ingredients for a ghost story are here: a dark Victorian mansion, a neurotic English governess, rumors, mysterious deaths, plus the same disturbing child actor who led the homicidal brats in VILLAGE OF THE DAMNED. The story is adapted from Henry James’s classic novella “The Turn of the Screw,” written when Sigmund Freud was postulating his revolutionary theories of sexuality, dreams, and the unconscious (James’s brother, William James, is considered the “Father of American Psychology”). The casting of talented Deborah Kerr, as the governess “Miss Giddens,” is spot-on. Her saucer eyes and halting voice perfectly convey the paralyzing fear of a woman on the verge of a breakdown.
NOTE: Truman Capote co-wrote the script for this movie between publication of “Breakfast at Tiffany’s” and “In Cold Blood.” Capote was originally from Alabama, and he added a Southern Gothic aura to the film.
THE HAUNTING (1963, starring Julie Harris, directed by Robert Wise): The classic New England haunted house movie, adapted from a novel by Shirley Jackson entitled “The Haunting of Hill House.” I saw it with my daughter when she was about 13, and she says it’s one of the scariest movies she’s ever seen. Now, that’s a plug! (She normally hates black-and-white movies). But THE HAUNTING is a movie that could only have been filmed in B&W. The gray, shadowy cinematography gives the film depth and atmosphere, and accentuates the oppressiveness of mounting fear. Like Deborah Kerr in THE INNOCENTS, Julie Harris gives a standout performance as a young woman veering toward insanity. Is it the spooky house, or has she always been unstable, or is it both? You have to watch this movie to find out… but DON’T WATCH IT ALONE!
NOTE: this film has hints of Lesbianism between the characters played by Harris and Claire Bloom.
NOTE 2: the movie was remade in 1999. I haven’t seen it, but it supposedly stinks.
SEANCE ON A WET AFTERNOON (1964, starring Kim Stanley and Richard Attenborough): A domineering wife and her caspar milquetoast husband devise a plot. They will kidnap a young girl and hold her for ransom so the woman can get publicity for her psychic abilities. In the beginning, they have no intention of harming the girl. But the woman, haunted by the early death of her son Arthur, slowly begins to crumble mentally, and contemplates murder. Her meek husband is the only thing standing in her way.
SEANCE ON A WET AFTERNOON is a tour-de-force of acting, direction, and atmosphere. This was only Stanley’s second movie, and she didn’t make many afterwards. She was most known for theater work and for doing the narration in “To Kill a Mockingbird.” But hers is a powerful performance that earned an Oscar nomination. Richard Attenborough is also great as the submissive husband. The subject matter is sensitive, but it’s handled with care. And the movie title, well… let’s just say they don’t write ‘em like this anymore.
NOTE: the part that Kim Stanley eventually got was turned down by both Deborah Kerr and Simone Signoret (famous for her role in DIABOLIQUE, a sort of French take on Alfred Hitchcock)
REPULSION (1965, starring Catherine Deneuve, directed by Roman Polanski): A definite pattern has developed in this list. Why stop now? Catherine Deneuve’s character in REPULSION makes the mental instability of Kerr, Harris, and Stanley seem like a walk in the sanitarium garden. I saw this movie for the first time two years ago. All I can say is “Wow.” And not just for the shimmering beauty of Deneuve. Director Polanski crafted a movie about a sexually repressed young woman whose older sister leaves her alone in their apartment for a week. At first, the woman’s behavior is just a little odd. But over time, we realize she’s slipping dangerously downstream. When she finally cracks, it’s a shocker. Watch this movie through the last camera shot, which is a close-up of a photograph of the woman as a young girl. Very unsettling.
NOTE: REPULSION was Roman Polanski’s first English-language film. It’s ranked #14 on Rotten Tomatoes’ list of best-rated films.
After making this list, I noticed four out of five of the movies have a woman in the central role. Even PSYCHO and THE BIRDS feature a beautiful woman at the center of the plot. It was purely accidental on my part. But I’m glad I could strike a blow for women’s rights, even if all of these femmes are a little “off.” Maybe because women’s psyches are more vulnerable? Or have more complexity?
Whatever the answer, I hope that, if you do watch these movies, you’ll agree that one doesn’t need a lot of violence and blood to convey horror. On the contrary, psychological horror is far more riveting than monsters, aliens, or comic-book figures like Freddy Krueger. The greatest horrors are intangible: they lurk inside the human mind.