During the chase in the drugstore, you can see several bystanders watching the filming from across the street.
When Frank starts to sit down next to Jeanie at the club, his cigarette is in his left hand.
But in the next shot, while he's still in the motion of sitting down, it's now in his right hand.
After finding out who's in the photo, Bigelow leaves the photography studio and immediately starts getting shot at.
He heads toward the factory (screen right) where the shots are supposed to be coming from, but all the shots being fired and ricocheting off the ground, pipe, barrel, etc.
are coming from the other direction (screen left).
When Dr.
MacDonald is showing the test tube that supposed to contain the poison liquid that glows in the dark and moves it around, you can see it's really a solid substance, and not a liquid.
When the bus stops in front of one of the henchmen chasing Frank , the front door opens, but when they cut to the inside of the bus, the door is still closed, and remains closed, until Frank gets up and goes out the rear door.
When Frank leaves the St.
Francis and gets on the cable car, it is going towards the end of the line on Market Street, a few blocks away.
But in the next scene, the cable car is going uphill in the opposite direction.
At 21:10, the amount in Frank's glass is less than when seen at 21:45.
He did not ask the bartender for more.
In the bar, the glass changes positions on the bar relative to the man with the checkered coat.
It goes from behind his arm to in front of his elbow.
At 28:31 the way the doctor holds the paper changes.
At 39:36 Halliday's position changes as he sits on the desk.
At 49:20, camera shadow on Frank.
At 1:12:15 camera shadow on Frank and store window.
Near the end of the first scene in Halliday's office, a large shadow or change in lighting briefly passes across Bigelow.
This film serves as a nice bridge between between Don Letts' 'The Punk Rock Movie' and Penelope Spheeris' 'The Decline of Western Civilization' as it mainly follows the Sex Pistols on their disastrous U.S.
The gimmick here is that an accountant is given a slow-acting poison and tries to track down his own killer. The premise is intriguing but the execution is terrible.
"D.O.
This is a prime example of a film noir it has the gloomy atmosphere, sharp lighting, and the out of touch protagonist. However what separates this film from all the others, is the chilling premise.
Edmond O'Brien is cracking in this dark and atmospherically paced thriller about a man who discovers that he has been deliberately poisoned by luminous toxin and may only have a few hours/days/weeks left to live. He can't understand who would want to do this and sets out to find the culprits.
I really enjoyed O'Brian performas and I really liked the premise, but to me as soon as he gets to L.A.
Frank Bigelow (Edmond O'Brien) is dead. He's a walking dead man.
If we talk about film openings, what comes to mind? You may think of Star Wars, for example, where weird 3D lettering rolls across the screen, boring you to tears, but ultimately preparing you for one of the most unusual films of the century.
I love noir movies, but this one fails after the first 15 minutes. The premise is perfect, the follow-through, not so much.
