D.O.A.

"Why, why, why why why?!" Discharge may have had something else in mind when penning the lyrics to that classic crust-punk tune, but it's a question that comes to my mind each and every time I think about Lech Kowalski's semi-lost semi-classic, "D.O.A.-A Right Of Passage." (That's the way the title was misspelled on my bootleg VHS copy.) Why oh WHY has this flick never had an official DVD release??! The director received the "film classic" treatment from Troma for one of his lesser works, "Gringo," AKA "Story of A Junkie," so why not THIS one?

Yes,this includes a far longer version of the infamous "bed-terview" with Sid& Nancy than what was seen in "The Filth & The Fury." The film is well worth watching for these scenes alone. You get the feeling that these two are almost entirely unaware of the camera, and the far-reaching consequences of its presence. Also, that they've been lolling about on that bed for a very, VERY long time. (Still think junkies are 'glamorous?')

Perhaps, like Penelope Spheeris' "The Decline," the interminable delay has something to do with securing the music rights from such a disparate and far-flung group of people. In the meantime, while we wait (and wait) for these two vital documents of my youth to have official releases, do you think maybe You-Tube could STOP removing clips of them for copyright violations??!

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!

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.

D.O.A, an shot on-the-run warts and all bands and crowd look at a goid sampling of UK punk (and The Dead Boys for some reason), shows that it's all fun and games and the occasional bottle thrown by a redneck in a Texas town (where the Sex Pistols inexplicably toured in 78) and rock and roll and old stuffy British men criticizing the Pistols (and the other bands the uptight Brit wanker censor couldn't recall)... Until one sees Sid post final SF Winterlabd concert with Nancy totally zonked on heroin (or, sorry, he was just 'tired').

This will obviously be appealing to people who know the bands - or at least have some familiarity with Rotten and the rest (there's even film, which must be the only time it happened, of ex-Pistol Glen Matlock's next band singing 'Pretty Vacant') - but it also has the fascination of opening a buried time capsule. It may also suffer somewhat if one already laps up punk rock docs and movies. I'm one of those who find anything punk related that has just a tinge of quality appealing and will go easy even (ie I know deep down there's not much storywise to Rude Boy, but it's The gddamn Clash playing live for goodness sake), but at the same time I'm coming to this now as opposed to when all the others were readily available as a teen and younger adult. Only now is DOA finally available after years of rights issues, so one comes to it after already lapping up Temple's (really terrific) The Filth and the Fury and Spheeris' Decline movies.

So as I can try to be all objective Mr Critic-Suspender-Pants and say this isn't as cohesive and the main thread of the Pistols on the ill-fated/final tour of the US gets a bit ruptured due to the Vicious/Spungen scenes being cut in well before the end really comes and the context for the band splitting isn't really there (I could be wrong but McClaren isn't mentioned once) ... I can't carp. Every time one sees the Pistols on stage, most especially the wild-eyed quasi-hunchback gonzo Rotten and the almost for today innocent posing by Vicious and the guitarist Steve, it's electric energy and somehow, through the magic if film editing, it even seems as though the American audiences get into the songs live (many being burgeoning punks who have found the real charge from them, yes even in Memphis on Elvis's first birthday post death). Another connection one can make is some of the interviews, done so raggedly and clearly without permission you can see the spit on the lens some if the people hurl, is Heavy Metal Parking Lot, where the interest becomes as much anthropological than anything.

And sure, I don't expect High Times - yes, the effing pot magazine funded this - to be doing Maysles level work. That may be in part why it can't help but compare to that first Decline film, where going from band to band and the Wiseman influence made it a tighter constructed film. But I still give this such a high rating because it is totally compelling and seeing the likes of Sham 69 (perhaps the best punk crowd one gets to see during a live performance, great energy too), Xray Spex (an underrated treasure of 70s female-led punk), Billy Idol(!) in Generation X (doing a song that is better than anything Idol did solo, and I'm not a hater on him), Dead Boys, et al, is often thrilling and sometimes funny - it helps to have some humor when being an aggressive SOB, or trying to - to see what this was all about. The music didn't go away of course, but it didn't stay quite the same as far as the first flood of what it was about.

And, at the end of it all, Spungen and Vicious were dead. One is almost tempted to call exploitation on that part of it (ala one of those Kurt/Courtney docs over the years), but.... High Times? Naahhh.

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.