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D.O.A.
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"I want to report a murder...mine." So begins D.O.A. Told in flashback, the story tells of how vacationing CPA Frank Bigelow (Edmond O'Brien) becomes the recipient of a deadly poison known as iridium. Told by a doctor that he hasn't long to live, Bigelow desperately retraces his movements of the previous 24 hours, trying to locate his murderer. Through the aid of his secretary Paula Gibson (Pamela Britton) (who doesn't know of her employer's imminent demise), Bigelow traces a shipment of iridium to a gang of criminals who've used the poison in the commission of a crime. But for much of the film, it remains unclear why Bigelow himself was targeted. Though we know from the outset that Bigelow isn't long for this world, the film builds up an incredible amount of suspense towards the end, when Bigelow is taken "for a ride" by a psychopath (Neville Brand). with a penchant for pummeling his victims in the belly. DOA was remade in 1988 with Dennis Quaid and Meg Ryan. ~ Hal Erickson, All Movie Guide
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"D.O.A. is an interesting film. On one side, Maté prioneered some brillant shots and the premise is absolutly genious. But, at the same time, it is a B-movie, and there are plot holes (since when did he carry a gun?) and the acting is overly melodaramatic. " [More]
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"This blog entry is part of my “movie year countdown”. To read more about that check out my first Spout filmblog entry.D.O.A.Although this movie is good, it lives on it's premise. And the premise is fantastic. But the director didn't quite seem to know how to push the " [More]
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Review by All Movie Guide
All Movie Guide
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One of the most definitive films noirs, the suspenseful D.O.A. also features one of the greatest conceits in film history: a man trying to solve his own murder. Not many movies can boast the line, "You've been murdered." The existential anxieties lurking in other film noirs are at the forefront of D.O.A.: the "walking dead man" metaphor is no longer merely a metaphor. The underrated Edmond O'Brien was at his finest as the accountant fighting a fatal, slow-acting poison. The film was the first directorial effort from famed cinematographer Rudolph Maté (The Passion of Joan of Arc, Vampyr), and would be his most enduring film. Though the production values were in keeping with B-movies of the time, the stylish black-and-white cinematography of Ernest Laszlo was creative even by expressionistic standards. D.O.A. has been remade twice, first as the average Color Me Dead and then as 1988's vapid D.O.A. (1988). ~ Brendon Hanley, All Movie Guide
 

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