D.O.A.

Rating:
Summary: A film noir classic in every sense of the word
Review: 1950's D.O.A. is classic film noir, one of the true classics of the genre. The characters are intense, everyone is up to something, and the clock is ticking for one Frank Bigelow (Edmond O'Brien), who must attempt to find his own murderer before his last grain of sand trickles to the bottom of the hourglass. Bigelow is an accountant who up and takes a week off to visit San Francisco, ostensibly to get away from his secretary and incredibly needy, codependent, marathon-talking girlfriend Paula (Pamela Britton). Once he arrives at the hotel, he's like an elephant in a peanut factory, trying to go every direction at once in order to have a good time with every woman he sees. While the neurotic Paula broods, Bigelow goes out to paint the town red with a gang of his hotel neighbors, only to wake up the next morning feeling less than healthy. A trip to the doctor's office instantly changes his entire perspective on life, for he finds out that he has been poisoned with a luminous toxin, for which there is no cure whatsoever. With anywhere from a day to two weeks to live, he starts off on a relentless quest to discover his murderer. The plot takes a number of twists and turns, and it can get a little confusing at times because of all the characters and all the shenanigans each of them are pulling. Bigelow has nothing to lose, though, and he refuses to give up as long as he has a breath left in his body.

D.O.A. starts off a little slow, and the fact that a silly musical wolf call greeted the appearance of any woman early on had me doubting the merits of this film, but when things really get going, they really get going. The action and suspense build inexorably with each passing minute of the film, and the background music only reinforces the gripping effect upon the viewer. The camera work is also quite effective, strongly conveying the increasing alienation Bigelow is faced with as the Grim Reaper makes plans to pay him an imminent visit. It is easy to become mesmerized by all of the story's twists and turns, as on top of the great atmosphere, you have to think about each new clue and surprise that Bigelow encounters on his mission. You have to admire Bigelow's relentless determination and quick-thinking mind, and he quickly transforms himself from a character of dubious merit and possibly ignoble feelings into a tragic hero/victim of classic proportions. If the whole luminous poisoning thing doesn't make you sympathize with the character, the neurotically suffocating burden of love he has to deal with continuously from Paula will. Other films have taken this idea of a poisoned man hunting down his murderer in his dying days and hours, but none has produced such a gritty tale that drips with realism and builds to the type of crescendo found in this remarkable film noir classic.

Rating:
Summary: A film noire classic in every sense of the word
Review: 1950's D.O.A. is classic film noire, one of the true classics of the genre. The characters are intense, everyone is up to something, and the clock is ticking for one Frank Bigelow (Edmond O'Brien), who must attempt to find his own murderer before his last grain of sand trickles to the bottom of the hourglass. Bigelow is an accountant who up and takes a week off to visit San Francisco, ostensibly to get away from his secretary and incredibly needy, codependent, marathon-talking girlfriend Paula (Pamela Britton). Once he arrives at the hotel, he's like an elephant in a peanut factory, trying to go every direction at once in order to have a good time with every woman he sees. While the neurotic Paula broods, Bigelow goes out to paint the town red with a gang of his hotel neighbors, only to wake up the next morning feeling less than healthy. A trip to the doctor's office instantly changes his entire perspective on life, for he finds out that he has been poisoned with a luminous toxin, for which there is no cure whatsoever. With anywhere from a day to two weeks to live, he starts off on a relentless quest to discover his murderer. The plot takes a number of twists and turns, and it can get a little confusing at times because of all the characters and all the shenanigans each of them are pulling. Bigelow has nothing to lose, though, and he refuses to give up as long as he has a breath in his body.

D.O.A. starts off a little slow, and the fact that a silly musical wolf call greeted the appearance of any woman early on had me doubting the merits of this film, but when things really get going, they really get going. The action and suspense build inexorably with each passing minute of the film, and the background music only reinforces the gripping effect upon the viewer. The camera work is also quite effective, strongly conveying the increasing alienation Bigelow is faced with as the Grim Reaper makes plans to pay him an imminent visit. It is easy to become mesmerized by all of the story's twists and turns, as on top of the great atmosphere, you have to think about each new clue and surprise that Bigelow encounters on his mission. You have to admire Bigelow's relentless determination and quick-thinking mind, and he quickly transforms himself from a character of dubious merit and possibly ignoble feelings into a tragic hero/victim of classic proportions. If the whole luminous poisoning thing doesn't make you sympathize with the character, the neurotically suffocating burden of love he has to deal with continuously from Paula will. Other films have taken this idea of a poisoned man hunting down his murderer in his dying days and hours, but none has produced such a gritty tale that drips with realism and builds to the type of crescendo found in this remarkable film noire classic.

Rating:
Summary: A Strong Three Stars
Review: A classic example of 'Film Noir'; a movie where a poisoned man searches for his killer. Contains the immortal line, "I'm sorry Mister Bigelow -- but you've been murdered." Please don't view the Quaid/Ryan remake.

Rating:
Summary: Forces Beyond Our Control.
Review: A man named Frank Bigelow (Edmund O'Brian) shows up at Los Angeles police station to report a murder: his own. Frank is dying of luminous toxin poisoning. He recounts to police the incredible story that brought him to be at the brink of death in this police station in a strange city. Just a few days ago, he was a small business owner in a little town called Banning. He had an adoring girlfriend, Paula Gibson (Pamela Britton), who was also his personal secretary. But Frank had cold feet about marrying Paula and decided to take a little vacation to San Francisco to give himself some air. Paula called to tell him that a man named Phillips was desperately trying to reach him, but the name didn't ring a bell. The next day, Frank found out that he had been fatally and irreversibly poisoned. Frank's increasingly frantic search for the identity and motivation of his murderer takes him to two cities, into the criminal underworld, and onto the wrong end of several pistols before all is done.

Rudolph Mate's "D.O.A." is a film noir classic. And it takes the cynical view typical of the genre. Frank is a man whose fate is entirely beyond his control. As the audience roots for Frank to solve the mystery and find his murderer, fate unabashedly mocks his efforts. Frank is a dying man; what earthly difference will it make if he finds his killer? Whatever Frank does, the result will be the same. And it's all because he notarized a bill of sale...one out of hundreds of bills of sales. Who knew what being a notary could lead to? But for a movie with such a cynical story to tell, "D.O.A." has always been immensely popular. I think that's because Frank Bigelow is an "everyman" who rises to the occasion when difficult circumstances require it. He's not too smart and not too dumb. He has a nice girlfriend...to whom he isn't entirely faithful. He's basically a good guy, works hard, but imperfect. And when fate deals him a bad deal, he finds within him a strength and determination that even he may not have known he had. He's going to solve the mystery if it's the last thing he does. Even though it will be the last thing he does. Edmund O'Brian does an admirable job of conveying Frank's imperfection, his initial incredulity at his predicament, and then his determination when he stares reality in the face and decides to take matters into his own hands, to the extent that he can. The opening scene in which Frank enters the police station to report his own murder is a stroke of genius. What a way to hook an audience! The only fault that I find with the film are the ridiculous noises that we hear every time Frank spies an attractive woman. Their tone is completely inappropriate to the film, and they are a real blot on Dimitri Tiomkin's otherwise excellent score.

The DVD (This refers to the Roan Group DVD only): This film looks too contrasty and lacking in subtle tonality to me. Not having seen the film on the silver screen, I don't know if it was originally like that, if there was a problem with the print, or if it's a bad transfer. But the film stocks available in 1950 were technologically much better than this DVD would lead you to believe. The main menu on the disc doesn't show up before the movie. The disc starts to play as soon as it is inserted into the player, so you have to either hit the menu button on your remote or get yourself onto your couch quickly. There are two bonus features: An interview with actress Beverly Campbell (now Beverly Garland) in which she describes her experience being blacklisted by the Hollywood studios for several years following her appearance in "D.O.A." And there are a few pages of text that you can read about film noir in general and "D.O.A." in particular. Beverly Garland's story is interesting, but the DVD seems to be put together in a slipshod manner.

Rating:
Summary: Compact Thiller
Review: A real neat thriller with a twist. There are a handful of actors that the viewer doesnt mind if he/she overacts a bit. Edmund O,Brien is certainly one of them ( Barefoot Contessa etc)

O,Brien is slipped a mickey in a bar and spends the rest of the film looking for the culprit. He engages some rather bizzare characters including a sinister Luther Adler, a psyco named Chester( Neville Brand) and the culprit himself William Ching.

Atmospheric and dark...to say the least..the last words in the film are its Title! Forget about the trashy remake Mate,s version is fine.

Rating:
Summary: "I drank what?"
Review: As Socrates once said "I drank what?"

Frank Bigelow (Edmond O'Brien, you may remember him as Winston Smith in `1984' 1956) realizes after he had a one night fling that he does not feel so good. He feels bad enough to see a doctor. Yep he is D.O.A. (Dead On Arrival) as he has been poisoned and only has a little time left to live.

Obsessed with finding out who did it and why, Frank has to reconstruct his wild night. Will he find out in time? If so what then?


Rating:
Summary: D.O.A.
Review: D.O.A. is quintessential 1950's film noir (though it was shot in 1949) and in my opinion the best of the genre. Everything about this film is done right, from it's casting, to acting, to cinematography to musical score to directing.... It is wonderful.

Edmund O'Brien plays Frank Bigelow a CPA who has been given a lethal dose of a poison and doesn't have long to live (a few days, a week tops). He doesn't know who slipped him this deadly mickey or why, but he's determined to find out. At the beginning of the film Frank walks into the LAPD to announce that he wants to report a murder. When the police captain ask who has been murdered Bigelow replies "I was" and then his story unfolds in flashback. When Bigelow begins his tale a couple of reporters and police detectives enter the room. By the end of the picture the room is filled to capacity with reporters and detectives completely enthralled in his story and hanging on to every word. By the time Frank ends his tale the slow acting poison takes deadly effect and he stands and croaks out his final gasp (his girlfriends name) and collapses to the floor. The men in the room, whose faces are filled with concern and admiration, all jump to their feet and rush to him only to announce that he is dead. You can't help but admire the guy, here's a guy who was intentionally poisoned and only had a few days to live and instead of wallowing in self pity and despair he went out and found his killer and got revenge (and saved another man's life along the way).

Characteristics of film noir, 1.) Everybody's got an angle even the minor characters. And do they all in D.O.A., everybody's got an angle even those not involved in Frank Bigelow's dilemma. That's what I love about film noir, no one is on the up and up. The 2nd characteristic of film noir; hoods, lots of hoods and this film is filled with them. What's so wonderful about this film is that even though Frank Bigelow is a respected CPA he looks, acts and talks like a hood. Frank wears the dark squared shouldered 50's suit like the best of hoodlums; he handles a gun and his fist like a hood. The ruggedly handsome Frank is a babe magnet and even though he is suppose to be in a committed relationship he can't keep his eyes and hands off other women...this CPA is a wolf in hood clothing and you can't help but like him.

Casting Edmond O'Brien as Frank Bigelow was a brilliant idea, he is the quintessential 50's film noir man, handsome, rugged, dark and tough. The only other person who could possibly have pulled off the role of Frank Bigelow is Raymond Burr (Perry Mason) as he has the same physical characteristics. In a word O'Brien is dramatic, when he is told by two doctors that he has been poisoned and will die in a few days (1 week tops), he springs to his feet, calls the doctor crazy and incompetent and runs from the office. With despair and disbelief written on his face Frank Bigelow runs, and runs and runs as if trying to run from the inevitable. Finally the realization sets in and he stops running and the look of despair is replaced by another look....determination and Frank has now accepted his fate and is now on a mission, a mission to find his killer before he dies.

From the opening credits you are involved in this film. Dimitri Tiomkin's brilliant score pulls you in with every thunderously dramatic musical step that Frank Bigelow takes to the police Captains office. You remain engaged with this picture from opening credits to final credits, enthralled you find yourself hoping that maybe some miracle will occur and Frank won't die and then you realize that Frank Bigelow has accepted his fate and you are the one in denial. In D.O.A. director Rudolph Mate delivers first rate film noir full of action mystery and suspense. Every scene is memorable and the cast is excellent as the director pushes them to deliver deadpan high drama performances. You'll love when the doc who told Bigelow that he'd been poisoned states in an ultra dramatic way, "You don't fully understand, you've been murdered." (Insert Dimitri Tiomkin's dramatic music here). Or the police Captain when asked how to fill out the report on Bigelow turns toward the camera with his stone face and replies "file it as dead on arrival" and there you have the movies title, D.O.A., excellent film.

Rating:
Summary: One OF The best Film Noir's Ever Made!
Review: D.O.A. starts off with one hell of a bang a hulky and overwhelmed Edmund O'Brien musters his way into a ploice station. As h emakes his way through the marble paved floors and pass the columns and the passage ways he finally arrives at the end of his journey. The journey to get him there is one that is so tight and compelling that when O'Brien announces that he has already been murdered the film turns into to a stark tail of death and lust told in flashback! O'Brien is Frank Bigelow an accountant who takes a trip to forget about his lover and just have a casual afair or two while in San Francisco. While in San Francisco heh finds a few hot ladies at his hotel and then he is whisked away to a Jazz club where he is poisoned and there isn't as antidote! the film moves ahead at whiplash speed from here. Shadows are cast over O'Briens hulking frame and sweat pours over his brow as he begins his trek to find his killer. th eplot and dialogue is as tight as any top grade Noir. But the most shoking element of the whole film is O'Brien he never once lets the viewer down he follows through with pure human emotion and if it seems like he is over actingn to some he is just playing a real life scenario oout on screen if you wer just poisoned would you be calm! Excellent Noir's have all the elements of the past from the sharp cut suits to the sheen of the telephones and with D.O.A. O'Brien seems to make all these elements seem ever more stark and fleeting with the fact that O'Brien is dying his precious reunion with the love he left for a good time seems more like fate instead of like the last time he will be in complete bliss! O'Brein is so powerful and commanding that i nver wanted him to die even though i knew it was inevitable now that makes the film as a whole a masterpiece!

Rating:
Summary: D.O.A. Almost
Review: D.O.A., the original, always pops up among the best film noir movies of the late 40s and early 50s. The idea is great: Edmund O'Brien is somehow poisoned in a bar and spends the rest of the movie running around L.A. and San Francisco, all in one day, trying to find the killer. Edmund O'Brien is believable but he's not very attractive. Fleshy, oily, combed back hair. He also oogles the girls. Everytime he does, there's a weird sound-effect, like a gazoo, to clue in the audience that this guy's a girl-watcher. What really stops the action throughout is this bizarre interaction of O'Brien's blonde, boring secretary-girlfriend. She calls and calls on the phone, refuses to hang up when O'brien obviously has. In one crucial segment, she even flies to san Francisco to visit him. He's nearly dead, the killers are closing in yet they cling together outside thier hotel and babble endlessly about: "I love you...I've always loved you...you're my only love...no one else...it's been you, baby, all the time..." On and on, ad nauseum. Also, why doesn't Obrien tell the people he encounters during this tragic day that he's dying? When he's actually with the killers in a car, he forces the car to wreck, right in front of a grop of cops. Does he run to them for help? Lord, no, he just keeps right on running. A better script, a better cast would have helped this curious little gem out immensely. I would have cast Universal's cast-off scream queen, Evelyn Ankers, as the secretary (Ankers was a terrific actress, but criminally overlooked by the studios). Instead of O'Brien, I would have used beefy Victor Mature or Don Ameche, who was also a first-rate talent, wasted, like Ankers, in entertaining drivel.

Rating:
Summary: Pulse-pounding
Review: Forget the misbegotten remake. This original version is the ultimate Late, Late Show. Somebody has killed Frank Bigelow (Edmond O'Brien) with slow -acting poison. Now he has only hours to find out who and why. An ultimate in urban paranoia, the movie would not work nearly so well without its strong sense of background normalcy. The love scenes may be sappy, but it's that middle-class ethos that lends the chaotic urban world Bigelow enters its uncommon vitality. Remakes of such noir classics as DOA are foredoomed by this post-Vietnam loss of background, while masters such as Hitchcock. understood that images of horror only emerge out of the depths of the ordinary.

The movie benefits greatly from O'Brien's high energy performance, as he charges non-stop through on-location labyrinths that criss-cross the urban landscape. It's a sweaty result, but enough to place his character in the Noir Hall of Fame. Right up there too, is the movie's high point: the jazz club. What burst of demonic energy and inspired editing brought this little gem to the screen. Rarely have bedlam, booze and casual sex mixed so expertly that the contents spill metaphorically across the remaining scenes, creating the necessary sense that anything is possible in a chaotic world. It must be seen to be appreciated.

Somehow, someway, a batch of mediocre careers got together and produced out of pure B-movie grist an unforgettable parable of the urban whirlpool, that grips even a half-century later. Don't miss it. It's the stuff nightmares are made of.