Theatre of Death

Theatre of Death isn't a particularly bad film, but it's a disappointing one as it really could have been a lot better. The film plays out something like a British version of the popular Italian 'Giallo' subgenre, and features Christopher Lee as the head of a Parisian theatre. The film makes this theatre its central location, and it provides a good place for a macabre tale like this to take place. Two years earlier, Mario Bava showed how a colourful location could benefit a movie about various people being killed with Blood and Black Lace, and it would seem that director Samuel Gallu realised how this could be used as the theatre at the centre of the tale utilises a bright colour scheme, similar to the one in Blood and Black Lace. The theatre at the centre of the film specialises in horror productions, and this is taken to a new extreme when performers at the theatre begin turning up dead. We focus on a police inspector who is tied to the murders through his attraction to one of the performance artists, and he soon realises that there could be a link between the murders and the theatre.

For a plot like this to engage the audience, it needs both thrills and intrigue, and while this film has both; it doesn't utilise either to a satisfying degree, and this makes the resulting movie rather cold and difficult to engage with. The acting is above average for this sort of film, however, and lesser known members of the cast manage to stand out despite Christopher Lee's massive star profile. The film seems to have taken influence from the prolific Italians on the actress front, as Theatre of Death features some beautiful women, which bodes well with the grandiose central location. Christopher Lee doesn't deliver his best performance in this film, and really never breaks a sweat in the lead role, but it's always a pleasure to see him. The mystery is never too interesting, and the short running time never really does it justice. Full credit goes to the film for the ending, however, as the film comes good by the time of the climax, even though the mystery could have gone on a little longer, had it built up more tension. Overall, this is a decent enough movie; I wouldn't recommend going into it with high expectations, but Theatre of Death is worth seeing for fans of this sort of film.

1966's "Theatre of Death" was a one shot feature from Pennea Productions, issued by London Independent Producers in the UK, while Hemisphere Pictures did the honors in the US under the more lurid title "Blood Fiend." It was also one of the better entries in Gold Key's Scream Theater television package (and its sole British entry), which admittedly isn't saying much considering the low quality of its 19 cofeatures ("The Creeping Terror" or "They Saved Hitler's Brain," for example). A series of murders erupt in Paris while the Theatre de Mort showcases another season under director Phillipe Darvas (Christopher Lee), a lifetime of devotion since inheriting it from his missing father, showcasing torture, murder, disembowelment, decapitation, and sundry other horrific details purely for audience amusement (the real life theatre finally closed for good in 1962). Two recent arrivals are Nicole Chapelle (Jenny Till) and Dani Gireaux (Lelia Goldoni), who are both good friends as well as roommates, encouraged to perform a reenactment of the Salem witch trials in a demonstration that grows too intense for Dani's boyfriend Charles Marquis (Julian Glover). Nicole proves most susceptible to hypnosis, and agrees to move in with Darvas, who has yet to complete the final act of his new program, maintaining a grip of terror over his troupe in any horrific manner he sees fit (poor Dani is encouraged to jump in the river). As a police pathologist, Charles learns that the knife wounds on each victim's throat were triangular, the corpses drained of blood as if a genuine vampire were responsible. Suspicion naturally falls upon the tyrannical Darvas, but once he mysteriously disappears like his father before him authorities remain in a quandary until a cafe owner relates a strange tale of survival in the Swiss Alps, and a mother who raised her child on human blood. Between the hand held camera angles chosen by director Samuel Gallu and the picturesque cinematography of Gilbert Taylor ("A Hard Day's Night," "Star Wars"), the picture manages to hold together in Lee's absence, but as a whodunit it's a total washout, scripted by Ellis Kadison and Roger Marshall, the latter a veteran of THE AVENGERS. From spying on his guests to browbeating those who fail to meet his exacting standards, this mesmeric role is very similar to Lee's previous film, Hammer's "Rasputin - The Mad Monk," only here his character vanishes after a confrontation with Charles about the unsolved vampire-like murders in their vicinity; as the obvious focus throughout the first half, the picture clearly suffers from that point on, and the drawn out climax doesn't quite fill the gap. Leading lady Lelia Goldoni had one Hammer credit on her resume (1964's "Hysteria"), Julian Glover only a year away from a major role in Hammer's third Quatermass entry, "Five Million Years to Earth," little known Dilys Watling (as hungry starlet Heidi) going on to a memorable appearance on THE BENNY HILL SHOW in the late 1970s.

A super surprise! I think I have rather dismissed this in the past either confusing it with the Vincent Price classic, Theatre of Blood or taking average reviews at face value. This is great fun and really creepy. Borrowing a little from giallo, this relishes in setting scenes up and then confounding one's expectations by lurching off somewhere else. Quirky and exotic (loved the risqué voodoo dance towards the end- great bra!) this has a great atmosphere throughout and with super cinematography is always good to look at. Lee is fiendishly good and probably at his very best looking. Set in a Paris within a sensational theatre depicting ghoulish and bloodthirsty pieces we get Lee getting involved with hypnotism and the ladies to great effect. Very often such films, whilst pleasant enough, can slow a little but here we just keep going from one surprise to another. There is one particular scene where Lee wants a young women out of his house and he brings her to tears, rubs her mascara about her face and virtually throws her out leaving us reeling because we rather thought he might take her to one side, as it were! Must see.

Not to be confused with the 1973 Vincent Price/Diana Rigg movie "Theatre of Blood," "Theatre of Death" (1966) gives us the story of a serial killer in modern-day Paris, who stabs victims and drains their blood (kind of like a 20th century Jacques the Ripper). The director of the local Theatre of Death, a Grand Guignol-type of entertainment, falls under suspicion, and, as played by that former neck nosher himself, "Mr. Tall, Dark and Gruesome," Christopher Lee, is is easy to see why. This sneaky, tyrannical, egomaniacal, Svengali-like, mesmerizing petty dictator is one intimidating personage indeed, and a likely suspect, to say the least. Anyway, I must admit that this little film has been stylishly shot and directed, handsomely produced, and well acted by one and all. However, it is also somewhat static, never especially scary or suspenseful, and certainly suffers when Lee's character mysteriously disappears halfway through. Still, it does somehow manage to hold the viewer's attention, although I'm still a trifle puzzled as to WHY the killer decided to go on a sudden homicidal spree, as well as a few other loose ends. To the film's credit, though, that killer's identity DOES come as something of a surprise (well, it did for me, anyway, but I've always been lousy at guessing this kind of thing). Yes, despite that gruesome title, and Mr. Lee's presence, this film IS more of a mystery thriller than a horror picture. Oh, and one other thing: An 11-minute interview with Mr. Lee makes for just one of the many fine extras on the crisp-looking DVD that I just watched.

Pigalle slums, Paris , there takes place severals murders . As police are baffled by a series of mysterious killings . Meanwhile, new Theatre director Phillipe Darvas (the great Christopher Lee , still performing), son of the old director, vows to dedicate his life to the Theatre, as did his father. At the opening night cast party, patroness Mme Angelique (Evelyn Laye) requests that Darvas give a preview of coming attractions, so Darvas asks Dani Gireaux (Lelia Goldoni) and newcomer Nicole Chapelle (Jenny Till who receives an "introducing" credit) to play a scene from 'The Witches of Salem'. But Dani's sweetheart , Dr. Charles Marquis (Julian Glover), interrupts the scene . Once again occur murders , each bearing a trace of Vampirism , being main suspect Darvas . The picture is based on a real Theatre known as the Grand Guignol ,it was a Theatre in the Pigalle area of Paris . From its opening in 1897 until its closing in 1962, it specialized in naturalistic horror shows. Its name is often used as a general term for graphic, amoral horror entertainment . A genre popular whose founder was Oscar Méténier was the Grand Guignol's and original director. Under his direction, the theater produced plays about a class of people who were not considered appropriate subjects in other venues: prostitutes, criminals, street urchins, and others at the lower end of Paris's social echelon. At the Grand Guignol, patrons would see five or six plays, all in a style that attempted to be brutally true to the theatre's naturalistic ideals. The plays were in a variety of styles, but the most popular and best known were the horror plays, featuring a distinctly bleak worldview as well as notably gory special effects in their notoriously bloody climaxes . Some of the horror came from the nature of the crimes shown, which often had very little reason behind them and in which the evildoers were rarely punished or defeated. To heighten the effect, the horror plays were often alternated with comedies . Paula Maxa was one of the Grand Guignol's best-known performers. From 1917 to the 1930s, she performed most frequently as a victim and was known as "the most assassinated woman in the world". During her career at the Grand Guignol, Maxa's characters were murdered more than 10,000 times in at least 60 different ways and raped at least 3,000 times .

Terror , killing , suspense , well-planned intrigue and mayhem make up the principal ingredients of the Theatre De Morte . This exciting , bizarre film contains tension , thriller , drama , mystery , plot twists and shocks , including decent scares with tense terror sequences especially in its final part , in a creepy denouement . The movie is intriguing and some moment brilliant, and the players are quite reliable . Eerie movie builds taut by showing virtually well staged killings , adequate theatre settings , unsettling score and evocative cinematography . Although is sometimes slow moving , overlong and stagy , however is entertaining for continuous suspense . Sinister , mysterious atmosphere is nicely photographed by magnificent cameraman Gilbert Taylor , and standing out the scenarios with luxurious images . Suspenseful and frightening soundtrack heightens the suspense .

This flick displays genuine chills , thrilling events , mystery and dark atmosphere and a twisted finale , being skillfully proceeded by Samuel Gallu . Director Sam Gallu, who once sang tenor for Toscanini, and star Chris Lee hurled snatches of arias at each other between takes. Sam Gallu was a craftsman who founded his own production company, Gally Productions, in the 1950's , his Productions included "Border Patrol" and "The Blue Angel¨ . He wrote , produced and directed a few movies such as ¨Arthur , Arthur¡¨ , ¨The limbo lime¨ , ¨The man outside¨ and this , ¨Theatre of death¨ that resulted to be his best movie . Rating : 6.5/10 . The movie will appeal to Christopher Lee fans .