D.O.A. (1950 film)

Due to a filing error, the copyright to the film was not renewed on time,[3] causing it to fall into the public domain: it was subsequently remade as Color Me Dead (1969), D.O.A.When they discovered that exonerating evidence of his innocence existed in the notarized iridium bill of sale, Halliday began disposing of anyone knowing about the document, and that led to Bigelow.In the final scene, Bigelow tracks Halliday to the Philips company and finds him wearing the same distinctive coat and scarf as the man who switched the drinks.[4] The New York Times, in its May 1950 review, described it as a "fairly obvious and plodding recital, involving crime, passion, stolen iridium, gangland beatings and one man's innocent bewilderment upon being caught up in a web of circumstance that marks him for death".He compiled an impressive resume as a cinematographer in Hollywood from 1935 (Dante's Inferno, Stella Dallas, The Adventures of Marco Polo, Foreign Correspondent, Pride of the Yankees, and Gilda, among others) until turning to directing in 1947.Director Rudolph Maté liberally used Broadway and the Bradbury Building during location shooting and included the Million Dollar Theater's blazing marquee in the background.After "The End" and before the listing of the cast, a credit states the medical aspects of this film are based on scientific fact, and that "luminous toxin is a descriptive term for an actual poison."The bop jazz band playing at the Fisherman's Club while O'Brien's glass is being spiked was filmed on a Los Angeles soundstage after principal photography was completed.Other band members were Shifty Henry (bass), Al "Cake" Wichard (drums), Ray LaRue (piano), and Teddy Buckner (trumpet).However, rather than use the live performance, the music director went back and rerecorded the soundtrack with a big band, not a quintet as seen in the film, led by saxophonist Maxwell Davis.
D.O.A.
Marla Rakubian threatens Bigelow when he comes to her for information.
Alternate theatrical release poster
Rudolph MatéRussell RouseClarence GreeneLeo C. PopkinEdmond O'BrienPamela BrittonLuther AdlerBeverly CampbellNeville BrandWilliam ChingLaurette LuezErnest LaszloDimitri TiomkinBlack and whiteUnited Artistsfilm noirBeverly GarlandNational Film RegistryLibrary of Congresspublic domainColor Me DeadD.O.A.notary publicBanning, CaliforniaSan FranciscoLos AngelesiridiumLynne BaggettJess KirkpatrickCay ForresterFrank JaquetLawrence DobkinFrank GerstleCarol HughesFrank CadyRotten TomatoesThe New York TimesFoster HirschMichael SragowLeonard Maltin's Movie GuideAmerican Film InstituteAFI's 100 Years...100 ThrillsAFI's 10 Top 10Million Dollar TheaterBradbury BuildingRidley ScottBlade RunnerJim DawsonShifty HenryAl "Cake" WichardTeddy BucknerMaxwell DavisThe Adventures of Sam SpadeScreen Director's PlayhouseAnnabel JankelRocky MortonDennis QuaidKurt St. ThomasJohn DoeList of films in the public domain in the United StatesPoisoning of Alexander LitvinenkoFandango MediaHirsch, FosterSragow, MichaelDawson, JimTCM Movie DatabaseAFI Catalog of Feature FilmsInternet ArchiveIt Had to Be YouThe Dark PastNo Sad Songs for MeUnion StationBrandedThe Prince Who Was a ThiefWhen Worlds CollideThe Green GloveSally and Saint AnneThe Mississippi GamblerSecond ChanceForbiddenSiege at Red RiverThe Black Shield of FalworthThe Violent MenThe Far HorizonsMiracle in the RainThe Rawhide YearsPort AfriqueThree Violent PeopleThe Deep SixFor the First TimeRevak the RebelThe 300 SpartansSeven Seas to Calais