D.O.A.

The film features not only punks and their performances, but also the reactionary times they played in. It's fascinating to see how threatened the powers-that-be felt, threatened by youth culture. (And it's too bad that the reactionary politicos of today are too secure to be threatened by any populist movement...)

Firstly, all credit to the makers for having the foresight to capture the Sex Pistols and the punk scene in it's element for future prosperity.

Whether you like punk or not, you can't deny it made a lasting impression on the music scene. This documentary is padded out with lots of additional footage in the form of an artistic montage. I would like to have seen more film depicting the punk scene on the streets and interviews in addition to the bands performing.

I don't think so much footage of 'Terry and the Idiots' adds that much value to the documentary. It would be nice to see an even longer alternative edit of this in restored quality HD. I imagine there's far more unused footage available.

As it stands, it's a unique visual record of the Sex Pistols in the USA but I feel it will mostly appeal to punk fans or curious onlookers. The making of D. O. A documentary is much better.

Saw this at the Waverly on west 4th street on a Saturday 1:15pm showing during its original run. As a 13yr. Old it gave me an education in punk and narcissistic behaviour. A life changing film.

Great live footage of Terry and the Idiots with Terry Sylvester talking about his bands performance after the gig, noting their lack of professionalism. Also the guy who who claims he's 'still has to go out thieving to collect his money' but is he fifteen or sixteen that is the question. Oh and its got The Sex Pistols on it too!

My review was written in April 1981 after a screening in Greenwich VIllage: D. O. A." is the sixth film thus far attempting to use the defunt group The Sex Pistols to document the much-publicized punk rock movement of 1977-78. Director Lech Kowalski hits only the obvious point in his padded survey approach, creating an artifact of sociological interest only.

Pic focuses mainly on the Pistols' 1978 U. S. tour. Kowalski intercuts performance footage with lots of stray footage of freaked-out U. S. fans and camp followers, as well as no-nothing opponents of the new music fad. Pompous statements by Warner Brothers Records execs set the tone as helmer seeks out various straw men representing "the establishment" to expose as reactionaries. Chief amongst these are a tough-talking but hissable member of the Greater London Council who is opposed to punk rockers and a mercenary record store operator, Bleecker Bob.

Randomly inserted in the film are grubby sequences purporting to show contemporary England in a state of decay, while man-on-the-street interviews indicate punk may be an outlet for aggressions of unemployed youth in Blighty. The American fans, by way of contrast, seem merely out to have a wild time.

To achieve feature length, Kowalski pads the picture with footage of other punk bands, ranging from the genuinely exciting Sham 69 to the incompetent Terry & the Idiots. Leader of latter outfit, Terry Sylvester, is interviewed at length to boring effect, Hokey subtitles are superimposed to highlight the barely-intelligible lyrics of the Pistols' songs.

Pic's highpoint, as far as historians and black humor fans are concerned, is a morbid non-interview with Pistols' member Sid Vicious and his g.f. Nancy Spungen. As titles-over remind us, duo died in 1978 and 1979, and spectacle of watching a near-comatose Vicious lamely attempt to answer questions while Spungen yells at him puts "D. O. A." briefly into the "Mondo Cane" expose school of filmmaking.

Sound recording is poor for most of the film and blown-up from 16mm visual are murky.