American Cinematographer - August 1988 - 37

In the

prologue,
Bigelow (Edmond
O'Brien) tells de¬
tectives
and

(Roy Engle
George Lynn)

that he has been

murdered.

TFarnanekr

byStils
'I Want To

Report

Murder'

a

by George Turner

A

hurries

unsteadily along a dark Los Angeles
police station and stalks through the
winding corridors until at last he enters a door marked
man

street, enters

a

HOMICIDE DIVISION.
"I want to

report a murder/' he tells the
calmly They ask questions: Where did
happen? "San Francisco, last night." Who was mur¬

Pearl. Once

we

have

seen

and heard

a

mond O'Brien deliver those few lines in
drained voice that leaves

haggard Ed¬
an

emotion-

for doubt, we're
hooked for the additional 80 minutes necessary to
watch him

untangle
frantic

a

no

room

complex yarn of cold-blooded
against the clock for under¬

several detectives

murder and

it

standing and revenge.
In Germany, in 1931, Robert Siodmak di¬
rected an obscure picture called Der Mann, Der Seinen

dered? "I was."
So

begins a memorable film from almost four
D.O.A. (Dead on Arrival). Certainly this
more unusual and dramatic establishing
sequences yet devised, worthy to rank with the arrival

decades ago,
is one of the

a

race

Morder Sucht (The Man Who Seeks His Murderer), in
which a dying man tries to learn who is responsible for
his

Manderley in Rebecca, the escape from the posse in
Of Mice and Men, Charles Foster Kane's muttered

impending doom. This basic idea inspired indepen¬
producer Harry Pop kin to make D.O.A. A theater
chain operator and sporting events promoter, Popkin
had entered production about nine years earlier with a

"Rosebud,"

series of

low-budget pictures featuring all-black casts

American

Cinematographer

scene

at Fort

Zinderneuf in Beau Geste, the dream visit

to

August 1988

or

close-ups of the fishing nets in The

dent

35



American Cinematographer - August 1988

Table of Contents for the Digital Edition of American Cinematographer - August 1988

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