In Theatre of Death (1967), the world of the stage becomes a sinister arena where art and life collide, with the ever-reliable Christopher Lee taking centre stage. Directed by Samuel Gallu, this British horror-thriller delves into the macabre possibilities of theatrical performance, questioning where the boundary lies between scripted terror and real-life horror. While not one of Lee’s most celebrated features, it nonetheless showcases his enduring gravitas as a cornerstone of the horror genre.

The film follows a series of grisly murders in Paris that seem to be connected to the Theatre of Death, a dark and experimental troupe led by the imperious Philippe Darvas (Christopher Lee). As the no-nonsense director, Darvas is both feared and revered, commanding absolute loyalty from his performers. Yet when suspicions arise that he might be more than just a manipulative taskmaster, the line between performance and reality begins to blur, drawing the audience into a spiraling mystery.

As usual, Christopher Lee elevates the material with his magnetic presence. His portrayal of Darvas is sharp and domineering, filled with the sort of brooding intensity that makes him both menacing and captivating. Lee’s ability to imbue even the simplest lines with menace gives the film its strongest moments, ensuring that Darvas remains a figure of fascination—even when the plot begins to falter.

The film’s concept is intriguing, leaning heavily into the theatrical setting as a means of exploring horror. The imagery of actors rehearsing scenes of death and torture within the confines of the stage serves as a clever metaphor for the duality of performance and authenticity. Yet, despite its ambitious premise, Theatre of Death struggles to fully capitalise on its potential.

Samuel Gallu’s direction is serviceable but lacks the flair needed to make the film truly memorable. The pacing feels uneven, and while the murder mystery element offers some intrigue, it never reaches the level of nail-biting suspense the story demands. Similarly, the supporting characters, while adequately acted, fail to leave much of an impression, overshadowed by Lee’s towering performance.

That said, the film does have its strengths. The atmospheric use of the theatre itself is a standout feature, with its shadowy corridors and moody lighting adding an air of Gothic unease. The murders are suitably macabre, even if they don’t push the boundaries of what the genre had to offer in the late 1960s.

The Prognosis:

Theatre of Death is not the strongest entry in Christopher Lee’s illustrious career, but it’s an enjoyable curiosity for fans of his work and the era’s horror films. Its exploration of the theatrical world as a backdrop for terror adds a unique flavor, even if the execution doesn’t quite match the ambition. With Lee’s commanding performance at its heart, the film is worth a watch—just don’t expect it to leave a lasting impression.

• Saul Muerte