The 1960s produced some of the greatest Westerns of all time. I’m referring to the “Dollars Trilogy,” “The Wild Bunch,” “Once Upon a Time in the West,” “Django,” and “The Man Who Shot Liberty Valance,” to name a few examples. It was also the last time the genre was truly en vogue, as the 1970s and beyond saw horse operas decline in popularity. We were spoiled for choice in the ’60s, and many of its best Westerns have since become forgotten.

Of course, the good thing about forgotten movies is that they are just waiting to be rediscovered. For this exercise, we have compiled a list of five underrated Westerns that are easy to rent, buy, and stream on physical media and streaming platforms. You’ll find something for all taste buds here, whether you like bizarre flicks or traditional shoot ’em ups, so don’t expect repetition. So, without further ado, let’s celebrate some overlooked gems from yesteryear.

Westerns featuring important Black characters in prominent roles are few and far between, which makes “Duel at Diablo” something of an anomaly for a 1960s horse opera. This one stars Sidney Poitier as an ex-soldier trying to make a buck as a horse salesman, only to find himself dragged into a deadly situation. The best part, though? His character’s race isn’t even mentioned.

Still, “Duel at Diablo” mostly centers around James Garner’s Jess, who is on a mission to find his Comanche wife’s killer. That said, he must also traverse Apache country after agreeing to deliver weapons to a cavalry fort, and that’s complicated. A plot like this lends itself to action, and make no mistake about it — “Duel at Diablo” is full of shooting. Be that as it may, the action isn’t “fun” per se, as the story is rather bleak, brutal, and emotional.

You’re probably thinking that you’ve seen countless cavalry vs. Apache Westerns before; however, “Duel at Diablo” is quite critical of the racism and persecution Native Americans have faced throughout history, so don’t go into it expecting another one that depicts them as outright villains. That’s not to say the movie is completely enlightened in its message, but it is quite forward-thinking for a Western released in 1966.

Director Monte Hellman is primarily remembered for “Two-Lane Blacktop,” a neo-Western road adventure and one of the 1970s’ most must-see movies. Prior to that, though, he directed “The Shooting,” which has been credited as the first acid Western.

“The Shooting” tells the story of two men (played by Warren Oates and Will Hutchens) who agree to accompany a woman (Millie Perkins) across the desert to a remote town. However, their quest is potentially doom-laden, as they find themselves pursued by a mysterious gunslinger (Jack Nicholson). What’s more, the woman might be hiding something — or is she? 

The story is pretty simple here — bare bones, even — but narrative building isn’t the point here. “The Shooting” is all about mood, atmosphere, and contemplation. Every viewer will come out of the experience with their own interpretation of what it all means. The characters essentially roam around, far from their destination, and feel hopeless. Is it a metaphor about death? Political turmoil? Who knows, but it’s thought-provoking all the same.

Don’t expect lots of action in “The Shooting,” but check it out if you enjoy bizarre slow-burners. Hellman’s film was also shot back-to-back with Hellman’s “Ride in the Whirlwind,” another Nicholson and Perkins-starring effort that is worth your time.

Many of John Wayne’s best roles are cowboy characters, but some of them don’t get the recognition they deserve. In the 1960s, The Duke starred in classic Westerns like “El Dorado,” “The Man Who Shot Liberty Valance,” and “True Grit,” which obviously warrant attention. However, more people ought to know about Burt Kennedy’s “The War Wagon,” which is basically a heist movie set in the Old West.

“The War Wagon” stars Wayne and Kirk Douglas as two old friends who bicker over who has the best shot. Their characters, Taw Jackson (Wayne) and Lomax (Douglas), set out to rob an armored stagecoach because it belongs to the guy who imprisoned and stole from the former. To accomplish this, they enlist a team of experts who specialize in weapons, brawling, and con artistry. Cue the hijinks. 

“The War Wagon” is one of the rare Westerns to feature Wayne as a bad guy, but he’s the anti-hero type who’s easy to root for. The movie is also loaded with humorous dialogue, and it features a cinematic bar brawl for the ages. I can’t imagine many Western fans disliking this underrated gem.

Alfred Hitchcock never directed a traditional Western movie, but his suspenseful style is well-suited to the genre. If you need proof, look no further than Henry Hathaway’s “5 Card Stud” — a good, old-fashioned murder mystery starring Dean Martin and Robert Mitchum.

In this one, a group of gamblers finds themselves being picked off one by one after hanging someone during a card game. Martin’s character, Van Morgan, was present for it, but he tried to stop the other players from committing frontier justice. Still, he knows the killer will come for him eventually, so he sets out to find the killer. Mitchum, meanwhile, plays Preacher, a holy man who keeps a gun inside his Bible. What’s not to love about that?

“5 Card Stud” is both an excellent whodunit and a terrific action Western, with shootouts, bar brawls, and the other good stuff. Of course, Mitchum and Martin are terrific as always, and their presence alone should be enough to sell most fans of classic cinema.

No list about overlooked Westerns of the 1960s is complete without Lee Van Cleef. The actor lent his talents to classics like “The Good, the Bad, and the Ugly” and “The Great Silence,” but some of his best work flew under the radar. This brings us to Gianfranco Parolini’s “Sabata,” an excellent spaghetti Western that gave rise to an underrated series of movies.

The story follows our sharply dressed cowboy as he rides into a Texas town, steals a gang’s robbed loot, and uses it to obtain an even higher reward — or so we think. In short, Sabata is a world-class conman with bigger plans, but his targets deserve to be robbed. He also befriends some outcasts along the way, including a banjo-packing musician and an acrobat who springs over horse carriages.

“Sabata” throws lots of goons toward our hero, but you’ll never believe that his life is in jeopardy. He’s like Clint Eastwood’s The Man with No Name — effortlessly cool, and firmly in control of every situation. Some viewers might see the lack of high-stakes drama as a negative, but “Sabata” is so gosh darn entertaining that you can’t help but love every minute of its ridiculousness.