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The tale concerns about a lengthy flashback where the protagonist (Edmond O'Brien) after leaving his girlfriend (Pamela Britton ) goes to San Francisco . There is given an extremely slow-action poison . The starring relates his own murder and becomes himself in detective , spending his ending moments trying to uncover his hit men . As his time runs out , he has only hours to identify , he desperately seeks to discover who is responsible his death . The search for the suspect is further complicated by thrilling facts , numerous intrigues , deceits and confrontation against mobsters (Luther Adler , Neville Brand) .

It's an exciting B-thriller of vibrating pace that unites various elements as the fatalism , cynicism , corruption with a noir vision of America from the time . The original title belongs the notes about the deceased person . Magnificent interpretation by usually secondary Edmond O'Brien as when he is frantically running by San Francisco streets . The scene in which he runs in panic through the streets after learning he has been poisoned was a stolen shot . The pedestrians had no idea a movie was being made and no warning that Edmond O'Brien would be plowing through them . Nice secondary cast , being film debut of Beverly Garland and Neville Brand . The film gets a good black and white (though available colorized) cinematography with some excellent close-ups (the jazzmen) by Ernest Lazslo . Atmospheric music by the classic Dimitri Tiomkin . The movie is well done by Rudolph Mate , a famous and habitual cameraman . It's followed by inferior remakes as ¨Color me dead¨ (1969) with Tom Tryon and 1988 version with Dennis Quaid and Meg Ryan . The motion picture will appeal to dark noir movies fans . Rating : Notable and well worth seeing.

Great B-movie film noir, played as if his life depended on it (and it does) by Edmond O'Brien as a small-town notary who pays a big price for signing the wrong document at the wrong time, turning what should have been a pleasure trip to the west coast into a murderous affair altogether.

It starts with a bang, O'Brien staggering into the local homicide unit to tell the cops that there's been a murder - his, before launching into the massive flash-back which takes up pretty much the rest of the movie. The action from there on is hectic and as convoluted as all the best noirs are as O'Brien, infected by a deadly poison, races against the clock to track down his own killer and the reason behind it.

The film makes fine use of actual San Francisco and Los Angeles locations as well as authentically depicting the hot and steamy atmosphere at a Frisco jazz club. O'Brien is great as the doomed Bigelow, racing, often literally, against the clock, stopping only to palm off his adoring secretary girl-friend, Pamela Britten, who of course doesn't find out what's wrong with him until too late.

The pacing is almost non-stop once it gathers momentum, unfortunately when it does, some of the scene-writing gets over-ripe and correspondingly over-acted as O'Brien and his girl pour out their hearts somewhat unnecessarily. The film ends bravely though with a downbeat conclusion, delivering what the title says it must and at least tying up all the loose ends by that time.

Frank Bigelow: "I want to report a murder." Homicide Captain: "Where was this murder committed?" Frank Bigelow: "San Francisco, last night." Homicide Captain: "Who was murdered?" Frank Bigelow: "I was."

It must be the dream of all directors to open a film with a scene or line which carries great impact and remains in the memory. The opening line in D.O.A must rank among the most dramatically effective and intriguing lines that has ever opened a movie. This is the quintessential film noir. Edmond O'Brien as the tough, hard drinking businessman who has grown tired of the normalcy of his life and the clinging Paula. His holiday in San Francisco is an opportunity to break the shackels. The premise that the hero has been given a slow poison for which there is no cure, and only a day or so to solve his own murder before he dies, is exceptional. We also have an array of sultry "bad girls", a seedy villain and a manic hitman. Rudoph Mate directs brilliantly, not missing a moment to twist and turn the action at a fast pace with no dull moments. Scenes of O'Brien running through city streets after he has learned his fate are superb with incredibly realistic wide shots. The fact that his direction is so effective makes one wonder how he could have allowed the lapses of ridiculous canned "wolf whistles" whenever the hero passed a good looking girl in the early scenes. Although these "wolf whistles" are really out of place and very annoying, the film is so effective that we can forgive the indiscretion. This is a classic example of a brilliant plot superbly told in a way that is still gripping 50 years after it was made. D.O.A. defines Film Noir.

DOA was made on the cusp of Edmond O'Brien's transition from leads to character roles and it may very well be his career part.

It's a cheaply made thriller and it shows in spots. But it more than makes up for it in originality of plot and the performances of a superb cast of players.

DOA involves nothing less than Edmond O'Brien solving his own murder. He's in some kind of business and as a sideline he makes a little extra money as a notary. He notarizes a bill of sale and in doing so is a witness to a piece of evidence that a man who was a party to the sale had no reason to commit suicide.

But the perpetrator doesn't slip O'Brien something fast acting like cyanide. No he gets something called luminescent poisoning which is slow acting, but irreversibly fatal if not caught within a few hours of ingesting. When he learns what happens, O'Brien has nothing to lose in his hunt for his own killer.

Best in the cast of supporting players without a doubt is Neville Brand who invades Lyle Bettger territory in playing a psychopathic thug in Luther Adler's employ. Adler himself is always good as are good girl Pamela Britton and bad girl Beverly Garland.

The film was made on a shoestring, but occasionally those films can prove worthwhile.

D. O. A. is an intriguing, fast paced movie, rife with metaphor. A mood of chaos and uncertain boundaries is introduced early in the film. At a hotel in San Francisco, businessman Frank Bigelow, seeking little more than the ephemeral pleasure of a brief trip, finds himself in the midst of party revelers. With unsettling frivolity, they roam randomly about their various guest rooms which appear unlocked and opened. The mood of strident, forced conviviality climaxes when they move the party to a local bar called "The Fisherman." As the jazz played in the venue intensifies in volume and rhythm, uneven camera angles catch the various musicians playing to the point that they're breaking sweat and literally, physically vibrating. Bigelow himself is jostled about in the crowd, actually losing his footing for a moment. The setting is that of a little world both frenzied and crazed. Bigelow appears detached as all react excitedly and emotionally to music that he admits isn't his taste.

This memorable key scene portends his disconnection from those around him and represents a crack, however slight, in his life's foundation. Though initially reticent about socializing and imbibing with people he just met, he has unwittingly been thrust into a reality more threatening than is immediately apparent. Later in the film, a jarring example of his full blown isolation occurs when he finds himself in an outdoor, public area. In unbearable turmoil, he momentarily encounters a little girl innocently playing with a toy. She appears in soft lighting, contrasting starkly to the shadows surrounding Bigelow, whose face registers the painful shock of awareness that ordinary activity continues unabated even while he grapples with extreme danger. This is reinforced when seconds later he observes a young couple embracing, compounding his agonizing realization that all simple pleasures are now unattainable to him. Noticeably, when he is literally "up against the wall" his back is touching signage of "Life Magazine" logos. All that once comprised his own life, that which he had considered to be little more than mundane minutiae, is heightened in significance and irrevocably at stake.