As a cinephile who’s spent countless nights huddled under the covers with only the glow of the TV screen to keep me company, I must say that this list is nothing short of a horror buff’s dream come true!
This story originally ran in 2018 and is being republished for Halloween.
Horror movies have been around almost since the inception of cinema. This genre has always held an appeal, attracting viewers who sought experiences beyond their ordinary expectations. A hundred years ago, fearsome creatures like vampires and ghosts, grotesque specters, and peculiar human conditions were nightmarish concepts; today, they still evoke similar feelings.
A significant number of titles on this list of exceptional black-and-white horror movies encompass well-acknowledged classics, niche cult favorites, and some recent creations from filmmakers who value the impactful nature of black-and-white films. However, each one is deserving of another watch during the Halloween season.
The Cabinet of Dr. Caligari (1920)
Robert Wiene’s The Cabinet of Dr. Caligari, often recognized as the first significant horror film and epitome of German expressionism, offers a surreal, nightmarish portrayal marked by sharp lines, abstract settings, diagonal staircases, and ominous landscapes. The stark juxtaposition of black-and-white tones creates an unsettling effect, amplifying the psychological turmoil viewers experience. Reality becomes distorted through visual cues, resulting in a chilling film that authentically encapsulated the fear and suspicion prevalent in the culturally isolated post–World War I society from which it emerged.
Nosferatu: A Symphony of Horror (1922)
Nosferatu, released during the peak of German expressionist filmmaking, was actually an unsanctioned version of Bram Stoker’s Dracula. Tragically, Stoker’s descendants took legal action against the adaptation, and a court decision mandated that all existing copies of the movie be wiped out. Remarkably, some copies managed to evade destruction. Director F.W. Murnau was a pioneer, blending constructed sets with real locations to infuse the vampire narrative with a sense of authenticity, while also employing special effects to make Count Orlok appear genuinely otherworldly. This classic piece of cinema is notorious, and its themes about political turmoil and disease outbreaks mark the inception of horror as a medium for social critique.
The Man Who Laughs (1928)
Essentially, Paul Leni’s “The Man Who Laughs” isn’t categorized as a horror movie per se, but more like a romantic drama akin to “The Hunchback of Notre Dame.” However, its impact transcends its original German romance film status, extending to the later Universal Monster films and even inspiring the depiction of the Joker in DC Comics’ Batman comics. The striking characteristics of the main character, coupled with the ominous atmosphere that pervades him, create an imagery that resonates with a profound sense of dread in viewers.
Universal Classic Monsters (1931–1954)
https://youtube.com/watch?v=watch?v=iiA0J5rKoE4
The classic black-and-white Universal Monster Movies (_Frankenstein_, _Dracula_, _The Wolf Man_, _The Mummy_, _The Invisible Man_, _Creature From the Black Lagoon_, and _Bride of Frankenstein_) were pioneering in shaping modern horror cinema. These films used monstrous creatures as a means to explore themes such as xenophobia, sexuality, questioning religious beliefs, identity crises, human violence, and fear of the unknown. Despite being presented in black-and-white, these Universal Monsters created terrifying worlds, instilling fear through innovative cinematic methods rather than relying on the graphic violence or gore that would become synonymous with horror films in subsequent years.
Freaks (1932)
Banned in Britain until the 1950s and easily one of the genre’s most controversial and ethically questionable films, Tod Browning’s Freaks serves as an examination of the monstrous extremes of human nature, forcing audiences to question their preconceived perceptions of those that appear different than the “norm.” Browning was fresh off of the success of Dracula when he made Freaks. The final moment of the film remains one of the most shocking endings in pre-code horror history, and takes a stance now common in horror: that sometimes the worst monsters are those that walk among us, undetected.
Murders in the Zoo (1933)
As one of the first examples of an “animals run amok” horror film, Murders in the Zoo was extremely graphic for its time, and remains to be a rather distressing film by even today’s standards, due in large part to the footage showing the depressing state of zoos in the 1930s. Animals are crying out for food and kept in iron-clad cages, and at one point, they legitimately fight one another. In the film, a maniacal zoologist grows increasingly jealous of his unfaithful wife and decides to utilize live animals as a weapon to achieve “the perfect murder.” Barely over an hour long, the film unsuccessfully tries to marry horror and comedy together, but does provide one of the most jarring opening sequences of a film from this era using a man’s mouth, a needle, and some thread.
Cat People (1942)
One significant low-budget horror movie, which rescued the struggling RKO Studios from financial ruin, is “Cat People.” This film’s enduring impact includes the chilling “bus scene,” a moment of intense suspense that paved the way for what we now call “jump scares.” To this day, it remains one of the most effective horror sequences ever made. Featuring an unrecognized cast and marking the debut of prolific horror producer Val Lewton, “Cat People” was a groundbreaking milestone in the realm of horror films.
The Seventh Victim (1943)
In another movie produced by Val Lewton, titled “The Seventh Victim“, Satanism and lesbianism are intertwined themes. This film is unique as it combines elements of noir and horror genres and portrays women in a revolutionary way, giving them independence and autonomy – something quite rare for the time. The female characters in this movie are assertive, outspoken, and brave, breaking the stereotypes typical of pulp fiction. However, the film implies that their strength derives from their involvement in a Satanic cult, though it seems that the male characters have little significance or impact within this secret society. Given this modern perspective, it’s worth revisiting this classic to appreciate its progressive portrayal of women and the subversive themes it presents.
The Uninvited (1944)
One of the early horror films portraying ghosts as genuine perils and frightening elements, often overlooked by U.S. viewers, is the British-made movie The Uninvited. This oversight is unfortunate since it’s a film that Guillermo del Toro acknowledges significantly shaped his own work. Featuring top-notch acting and employing practical, in-camera ghost effects utilizing lighting, sound, and wind machines, this movie creates an eerie atmosphere. Although it might not scare as intensely now as it did initially, a second viewing reveals its enduring impact on modern horror cinema.
Dead of Night (1945)
As a devoted cinema enthusiast, let me share some thoughts on a timeless classic that predates modern horror anthologies: Ealing Studios’ “Dead of Night.” This cinematic gem, woven together by five distinctive British filmmakers, offers a chilling psychological journey that showcases the exceptional skill of director Charles Crichton. In its gripping finale, we encounter an unsettling tale about a ventriloquist dummy, which paved the way for countless films featuring seemingly lifeless objects with a pulse. To this day, the icy stare of that ominous dummy continues to haunt my dreams.
The Picture of Dorian Gray (1945)
Although it might seem like I’m bending the rules slightly, “The Picture of Dorian Gray” stands out as one of the early films that deliberately employed black-and-white as an artistic decision instead of a practical necessity. Technicolor was strategically used for Dorian’s portrait, serving as a striking effect within the monochrome setting. This splash of color intensifies the chilling impact as Dorian’s painting ages while he stays youthful. The film is commendable for its mastery of deep-focus cinematography, and it garnered Angela Lansbury her second Academy Award nomination for Best Supporting Actress, as well as her inaugural Golden Globe win in the same category.
Abbott and Costello Meet Frankenstein (1948)
As the fascination with horror films started to decrease, movie studios found it challenging to revitalize what was once a lucrative genre for them. That’s when the horror-comedy genre emerged. While many earlier movies tried to inject humor into horror, “Abbott and Costello Meet Frankenstein” became the benchmark for this blend of genres, leaving a lasting impression that continues to be imitated today. By introducing Bud Abbott and Lou Costello as friends with established monsters like Lon Chaney Jr. and Bela Lugosi, Universal Studios struck gold and launched a successful franchise.
Them! (1954)
One of the pioneering films from the 1950s in the “nuclear beast” genre, and the first major production on giant insects, Them!, was a significant triumph for Warner Bros. pictures and a notable representation of what would evolve into the science-fiction subgenre. Drawing from horror elements as well as inspiration from Japanese kaiju films, Them! is one of the early instances of blending genres under the horror category. The film steers clear of the stereotypes that would later dominate B-movies, instead portraying the colossal ant monsters as genuine dangers and depicting the terror in a sincere manner.
Night of the Hunter (1955)
The sad fact about Charles Laughton’s “The Night of the Hunter” is that despite being one of the greatest horror thrillers ever created, it’s also one of the most overlooked. It was Laughton’s only directorial work and featured Robert Mitchum, a key figure in the noir genre who frequently played supporting roles. However, “The Night of the Hunter” is captivating, visually striking, and genuinely thrilling. Due to its innovative nature, it seems as though it would resonate more with modern audiences than it did during the mid-1950s.
Invasion of the Body Snatchers (1956)
The 1956 version of “Body Snatchers” may not be the most accurate adaptation of the story, but it stands as a compelling example of a sci-fi/horror film grounded in reality, exploiting our deepest fears about our vulnerability to destruction. Released during the height of Cold War and Red Scare hysteria, the political undertones of “Body Snatchers” were far more explicit than those in earlier films, effectively establishing a connection between politics and horror.
The House on Haunted Hill (1959)
William Castle’s masterpiece, “The House on Haunted Hill,” is one of the most outstanding haunted house movies ever made. In this chilling tale, an impeccably portrayed eccentric millionaire named Vincent Price offers $10,000 to any brave soul who spends a night in the eerie mansion, notorious for its grisly past. The guests encounter a dripping blood-stained ceiling, a dismembered head, an acid-filled cellar, and the infamous skeletal specters that roam independently. Although it stands as a remarkable film on its own, “The House on Haunted Hill” is particularly notable for inspiring horror films to target teenage audiences, a trend that continues to shape the genre today.
Eyes Without a Face (1960)
Georges Franju’s chilling and dreamlike exploration delves into the pursuit of physical perfection, societal expectations on women’s looks, and guilt. Formerly a revered surgeon, Dr. Genessier now dwells in solitude, conducting experiments on animals and vulnerable females attracted to him by his devoted nurse and lover Louise. The film, with its startling realism and abundant art-house influences, has left an indelible mark on future filmmakers. In monochrome tones, Eyes Without a Face offers a subdued softness that contrasts starkly with the disturbing horror it portrays.
Black Sunday (1960)
Mario Bava, the maestro of horror, kicked off his filmmaking journey with “Black Sunday,” a chilling Italian gothic masterpiece that remains one of his most acclaimed creations. Laced with allure, Bava crafts a haunting terrain using dynamic cinematography and stark black-and-white effects to create an eerie atmosphere. The narrative weaves together elements from vampire and witch folklore, culminating in a gruesome scene where a woman’s face is pierced by a spiked mask. Barbara Steele’s ghostly skin adorned with ominous, black pits in that scene has left an indelible mark on classic horror, encapsulating her character as alluring yet horrifying, desirable yet repulsive.
Psycho (1960)
https://youtube.com/watch?v=watch?v=Nv88ASiLmgk
Absolutely, “Psycho,” directed by Alfred Hitchcock, is undeniably one of the most impactful horror films ever made. It’s worth reiterating that “Psycho” was a groundbreaking work in the realm of horror cinema. The chilling scene where Marion Crane meets her end is what typically comes to mind when one thinks of a “horror movie.” This film paved the way for slasher movies and significantly disturbed the tranquil atmosphere of the 1950s.
The Innocents (1961)
Drawing inspiration from Henry James’ 1898 horror novella “The Turn of the Screw”, Jack Clayton’s chilling psychological horror film “The Innocents” remains one of the most notable British horror productions. It’s also an early and exceptional representation of the “creepy children” subgenre. The narrative is complex: “The Innocents” explores the mental torment of a character struggling to understand their surroundings while grappling with their personal emotional struggles. Upon its initial release, the film’s iconic ending earned an X-certificate due to its explicit themes of sexual repression, supernatural possession, and the intricate ways they intertwine. Scholars still debate the subtext of these elements today.
Carnival of Souls (1962)
Often praised as a standalone work of art, “Carnival of Souls” carries an eerie resemblance to an elongated episode from “The Twilight Zone“, deviating significantly from the conventional horror film structure. With a limited budget and artistic sensibilities reminiscent of an art-house production, the film’s chilling impact arises primarily from its unsettling visual aesthetics and skillful use of light and shadow. The director, Herk Harvery, even steps into the role of the terrifying apparition that haunts the protagonist, symbolizing her deep-seated fears personified as an insurmountable evil she cannot evade, no matter how hard she struggles. “Carnival of Souls” offers a grim, moody, avant-garde exploration into the depths of a complete mental collapse.
Dementia 13 (1963)
The low-budget horror film “Dementia 13” was directed by Francis Ford Coppola in his debut feature and was produced by B-movie legend Roger Corman. It’s a movie that imitates the classic thriller “Psycho,” but its script was hastily written. Despite the criticism it received, “Dementia 13” is significant in black-and-white horror films for daringly copying elements from Alfred Hitchcock’s masterpiece. This film marked the start of horror movies freely borrowing ideas from earlier films, a trend that would eventually lead to the culture of remakes we see today.
Strait-Jacket (1964)
In my humble opinion as a movie connoisseur, it was Joan Crawford’s mesmerizing performance in William Castle’s “Strait-Jacket” that truly mastered the art of what later became known as “hagsploitation.” Critics may have panned the film initially, labeling it one of the worst ever produced. However, Castle’s ingenious theatrical tricks transformed this movie into a beloved gem among audiences. Crawford’s chilling portrayal of a psychotic elderly woman not only raised the bar for seasoned actors diving into horror films after their prime, but also redefined the stereotype of “washed up” stars finding refuge in this genre post their Academy Award-worthy roles.
Repulsion (1965)
Regardless of being more than half a century old, Roman Polanski’s film “Repulsion” still ranks as one of the most unsettling ever produced. The initial installment of his “Apartment Trilogy,” “Repulsion” is a psychological labyrinth of hallucinatory investigation. Initially portraying a quiet and somewhat leisurely examination of an unremarkable woman, it swiftly transforms into a harrowing portrayal of her mental collapse, showcasing exceptional artistry in depicting the tormented realm that is the mind of a woman grappling with untreated emotional scars.
Hour of the Wolf (1968)
Ingmar Bergman’s filmography only contains one horror movie, titled Hour of the Wolf. This film represents a psychological exploration into what might be the scariest place of all: the depths of human personal demons and existential distress. The atmosphere throughout this movie is heavy with foreboding tension, often veering into the supernatural. Spectators are caught off guard by striking visuals and inventive cinematography (the dinner scene stands out as particularly notable), suggesting that what some consider one of Bergman’s lesser works might actually be one of his most intriguing.
Night of the Living Dead (1968)
George A. Romero, famously known as the “Zombie King” and pioneer of modern horror cinema, made groundbreaking contributions that continue to influence the genre today. His low-budget, independent film from Pittsburgh dramatically transformed the landscape of horror, introducing a chilling creature that has remained dominant for half a century. Unlike many previous horror movies set in remote, isolated locations, Romero brought terror closer to home, showcasing suburban families who were just a step away from encountering their doom due to a monstrous outbreak. While he maintained until his passing that the casting of Duane Jones, an African-American actor, was solely based on talent, Romero’s decision to feature a black protagonist is still considered one of the boldest moves in horror film history.
Eraserhead (1977)
David Lynch’s initial film, Eraserhead, represents a captivating and unsettling piece of cinematic terror that seamlessly blends extreme violence, eroticism, striking black-and-white photography, melodramatic acting, dark humor with an edge, and a generous serving of gore. It stands alone in its uniqueness, unparalleled by anything that preceded it, and nothing since has managed to replicate its impact. The unveiling of “the child” remains one of the most harrowing visual sequences ever captured in black-and-white cinema.
A Field in England (2013)
Among contemporary directors, none stand out quite like Ben Wheatley, boasting a unique and impressive reputation. Spanning various genres throughout his career, his masterwork might just be the chilling period piece set amidst the English Civil War. This film delves into the mental deterioration of soldiers ravaged by war, under the influence of mind-bending drugs. Penned by Wheatley’s spouse, Amy Jump, the dialogue plays a pivotal role in the movie, complementing its visually stunning sequences that depict cosmic terror.
A Girl Walks Home Alone at Night (2014)
Ana Lily Amirpour’s initial movie is a unique blend of Iranian-American vampire-Western filled with intense feminism. The movie, titled A Girl Walks Home Alone at Night, showcases both its beauty and peculiarity in equal measure, leaving viewers both captivated and unsettled. What makes the film stand out is Amirpour’s ability to craft atmosphere, offering a refreshing change of pace for a genre that often relies on high-intensity action. The movie seems to bring an ’80s erotic album cover to life, and successfully revitalizes one of the oldest subgenres within horror (similar to the second film mentioned in this list).
The Eyes of My Mother (2016)
Stunningly beautiful yet disturbingly unsettling, “The Eyes of My Mother” stands out among recent films, particularly impressive given that it’s Nicolas Pesce’s first feature. The film moves steadily, gradually burrowing beneath the skin of its viewers and lingering even after the credits finish. The black-and-white cinematography enhances its otherworldly atmosphere. While labeled as an art film, be warned: it is a raw, emotionally disquieting piece of cinema.
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