Friday, January 25, 2008

Edmond O'Brien

I watched DOA this snowy afternoon and reaffirmed my opinion that it's one of the great B pulp stories of all time.

"I'd like to report a murder."
"Whose?"
"Mine."

Hw can you miss with an opening like that? This is pure noir from first frame to last, an almost surreal experience of radioactive drugs (the scene with the doctor telling him that he's going to die is handled flawlessly), the almost documentary-like observation of San Francisco architecture, the quick vicious violence.

There's even a snarky bit of satire. The war has ended and prosperity has come to many. Salesmen abound. They fill the hotel where O'Brien first stays. As he goes into his room he sees there's a party going on in the room across from him. He accepts the invitation. Director Rudolph Mate gets everything right in this bit--the inane chatter, the sexual undertone, the sudden drunken jealousy, the goofy hats of the women and the effusive Chamber of Commerce attitude of the men.

From that point on it's grim without relief. As many critics have noted the black band in the jazz club scene was pushing the envelope. There was studio concern the film wouldn't be shown in the South (though I never quite understood that--the band did nothing but make some sweet music, they weren't hitting on white chicks). And then comes the succession of liars O'Brien encounters as he tries to figure out who poisoned him and why. He becomes a de facto hardboiled private eye and a better peeper than most. There's all that anger, all that fear.

I saw this new at Half Price for (I think) $3. Hard to go wrong.

As for O'Brien...several years ago TCM showed him as a very young man in a costume drama. He was thin and theatrcal. Studied. Weight and years gave him a more comfortable persona, the perpetually agigated average man who lost just about every battle with the dark gods. Though he would do more work after his part in The Wild Bunch, I think he was especially memorable as the crazed-wise old coot with rotted teeth and a wino laugh. Fitting and ironic in context that his character and Robert Ryan's were the only two left in the coda. Fine work capping a significant career.

2 comments:

Todd Mason said...

This was released as an indy...so who was complaining about the "race mixing"? The distributors, I'd guess...hell, this was Before southern stations refused to clear THE NAT KING COLE [television] SHOW for it's lack of monochromism, so I imagine someone somewhere was afraid of burnt theater resistance. The only false touch in the film, for me, was the weak attempt at humor with the pennywhistles on the soundtrack in the bar scene. Otherwise, when one finds a good print on video (the PD ones look pretty shabby), it's indeed a must.
Pity about the remake.

Ed Gorman said...

Yeah the pennywhistle is the worst kind of groundling humor. I have to give you that. Cringe-worthy.