D.O.A. (1950 Film) - Critical Response

Critical Response

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". O'Brien's performance had a "good deal of drive", while Britton adds a "pleasant touch of blonde attractiveness".

In 1981 Foster Hirsch carried on a trend of more positive reviews, calling Bigelow's search for his own killer noir irony at its blackest. He wrote, "One of the film's many ironies is that his last desperate search involves him in his life more forcefully than he has ever been before... Tracking down his killer just before he dies — discovering the reason for his death — turns out to be the triumph of his life." Critic A. K. Rode notes Rudolph Maté's technical background, writing,

D.O.A. reflects the photographic roots of director Rudolph Maté. 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. The lighting, locations, and atmosphere of brooding darkness were captured expertly by Mate and director of photography Ernest Lazlo.

Michael Sragow, in a review of a DVD release of the film, characterized it as a "high-concept movie before its time."

In 2004, D.O.A. was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."