D.O.A.

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.

Features live performances by the Sex Pistols, the Rich Kids, the X-Ray Specs, Sham 69 and Generation X.

Hard to believe that this title is out of print. It's one of the best documentaries of the early Punk rock era.

It's got great interviews with some of the principal people of the time, such as the head of the GLC. And interviews with concert goers outside the Sex Pistols American gigs. And the famous Sid and Nancy bed interview. And a bunch of other stuff.

"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??!