Anatomy of a Remake: D.O.A. 1950 to DEAD ON ARRIVAL 2017 with Emmy Nom Billy Flynn

by Quendrith Johnson, Los Angeles Correspondent

Ever wonder how much the world has changed since the half century mark? Take the case of the Edmond O’Brien noir D.O.A, released in 1950, then jump to the Dennis Quaid-Meg Ryan remake in 1988. Now step into the 2017 reboot, DEAD ON ARRIVAL. Written and directed by Stephen C. Sepher, this is one of the independent films that debuted at this year’s Rhode Island International Film Festival (RIIFF). DEAD ON ARRIVAL stars “Days of Our Lives” Emmy Nominee Billy Flynn, with D.B. Sweeney.


Sweeney is a recognizable name to veteran moviegoers as is Chris Mulkey, whose face you’ll recognize from 1982’s FIRST BLOOD with Stallone through three decades in movies to 2014’s indie Oscar smash-hit WHIPLASH as Uncle Frank. Sepher, for the record, also an actor, wrote the De Niro crime film HEIST (2015) from his original story, and it’s interesting that D.B. Sweeney also has a role in that picture.


But back to watching the world change.

In the 1950’s storyline, Frank Bigelow (O’Brien) is an insurance man who has notarized a harmless piece of paper that ultimately leads to his slow-poisoning after a rare-earth metal deal goes bad. The gem plot twist here dates back to Hamlet being poisoned and finding his killer. But in a movie timeframe, Bigelow only has 24 hours to solve his own murder. There are many false flags on the way to the real killer. But “Luminous Poison,” which glows in the dark as a novelty murder weapon, with a 24-hour time-lock is the DNA from this to the Dennis Quaid DOA and Sepher’s 2017 redo.
The late film critic Roger Ebert name-checked the original D.O.A. in his review of the Quaid-Ryan remake, noting it was a sexy retool. Yuppie novelist Dexter Cornell (Quaid) is a hot writer with ambition who wrongly faces off against an exotic heavy in the form of the mysterious Charlotte Rampling who he suspects is his killer. Meg Ryan is a student he cheats on his wife (Jane Kaczmerak) with, and later thinks she has poisoned him. Unraveling who the real killer is will be a shock.


While the 2017 version doesn’t have a female lead like then-American Sweetheart Meg Ryan, this movie shows us a variety of today’s fallen lovelies. Two in the form of Bonnie, played by Scottie Thompson, with Christa B. Allen equally troublesome, taking us down the dark side of modern femininity.


There is no Paula, the faithful secretary to Edmond O’Brien, so gone is the moralizing 1950’s message of monogamy as good for society. But there’s something intriguing about where Sepher’s worldview takes us.
Sam Collins, meaning Billy Flynn as the Bigelow character updated to 2017, is now a Big Pharma sales rep. He gets invited to a wild party held by an ethically challenged prescribing physician, who unleashes all kind of female and pharmaceutical hell for a single night that may ultimately cost Collins his life.
You’ve got topics embedded in this modern colorful noir from the dangers of vaccines to the lethality of prescription drugs and the opioid crisis in America. DEAD ON ARRIVAL now is an upscale, non-moralistic fairytale of what happens when the stylish world of affluent professionals head-ons with the underworld of gambling debts and street justice. Just as the women in this are no giggly Meg Ryan types, the men are not the Dennis Quaid hero types either.


Sepher’s version of the Edmond O’Brien post-World War II cautionary tale is now almost reportage about the America that resulted from the polite society myths cultivated during the era of the nuclear family 50’s. No one really thinks marriage works anymore, or knows whom to trust even among their friends, family, and co-workers.
DEAD ON ARRIVAL shows us similar corrupt cops and mafia kingpins in contrast to the social climbers in an upscale backdrop of affluent New Orleans in 2017, but ultimately — and this is what makes this version fun — it’s the heavy, the bad guy, played by Stephen Sepher (sometimes credited as Stephen Cyrus Sepher) who comes clean with the true justice and explains to Sam Collins why he has been targeted in this reboot. And yet? We soon find out there’s more to the story, not with the nice neat edges of Edmond O’Brien’s plot or the Me Generation focus of the Quaid-Ryan plot, but in a a messy, screwed-up ambiguous way the world is now. Find out more about this new film at Facebook or on their website, or RIIFF’s official site.
And remember, never drink anything from an open container at a party, BYOB, bring your own bottle. DEAD ON ARRIVAL is from Kingfisher Media and offered by Vision Films.

Official Description from Kingfisher Media

Emmy nominated Billy Flynn stars in an ensemble cast as Sam Collins, a pharmaceutical sales rep who visits a small town in Louisiana to close the business deal of a lifetime. He finds himself in a dark world of sex, corruption and murder as he is poisoned with no antidote to save his life. Desperate for answers, with less than 24 hours to live, Sam turns to a local girl Jesse. Their path leads to a voodoo priestess who only confirms Sam’s doomed fate. On the run, caught in a deadly vertigo with no one to trust, Sam and Jesse find themselves running from police detectives, the Mob and a dirty sheriff who wants him dead. [Inspired by the 1950 classic noir thriller D.O.A.]

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From The Last Tycoon to Woody Allen’s Café Society: Why We Love Stories About Hollywood

by Quendrith Johnson, Los Angeles Correspondent

Woody Allen’s newest film Café Society just opened July 15, and it fits into a cinematic history of stories about Hollywood that audiences love. But Woody Allen himself has been a lightning rod for so long, the electricity generated off the attendant controversies could power a small town. That said, we’re talking about a movie, folks, not the personal life of the director. CoreyBlakeWoody16With that caveat, Café Society will also be the movie that repositions Blake Lively as one of the most faceted young talents to come forward from the shadows of her contemporaries, including Kristen Stewart who, with romantic co-conspirator Jesse Eisenberg, stars in the film about “1930’s New York and Hollywood with a kaleidoscopic cast of characters that range from movie stars to millionaires, playboys to professors, and working girls and wise guys.” That’s a press kit quote, just to set up the anatomy of the picture.

This is the third pairing of Stewart and Eisenberg, from Adventureland (2009) and American Ultra (2015). Eisenberg is Bobby Dorfman, whose screen mother is legendary comedian Elaine May’s real-life daughter Jeannie Berlin. He is surrounded by excellent performances by Corey Stoll (House of Cards) as his thug brother Ben and Steve Carell as Phil, the Hollywood honcho uncle who is the narrative pivot that brings him to Golden Era Hollywood and into the plot involving his nubile assistant Vonnie played by Kristen Stewart. Blake Lively is the proverbial “beautiful socialite” who charms Eisenberg’s Bobby into another plot twist, but ultimately redefines brand Blake Lively. CafeSocFR1sht16Three minutes of screen time and you wonder how Lively is the same floozy in Ben Affleck’s The Town made over into an ethereal layered gamine-like presence. Oh, that’s right, one of the greatest living directors in the world is the human puppet-master here. Parker Posey also becomes the scenes she inhabits as Rad, half of a sympathetic couple for Bobby Dorfman in this Jazz Age confection. But Kristen Stewart is playing closest to life-meets-art here, involved with a married older man (Steve Carell), in a doppleganger life that could have been hers off-screen if she’d married Rupert Sanders, the seducer/director of Snow White who almost ruined her career. Hey, he was the grown-up. If nothing else, Café Society should remind us to give Stewart a pass, give this very gifted performer a clean slate for not having taken the sell-out path her character Vonnie takes. KstewWoodyJesse
Allen’s only misstep here is casting his own voice as narrator, because unlike Michael Gambon who thrills as voiceover-of-God in the Coen Bros’ concurrent release Hail Caesar!, Woody has a noticeable waver that distracts from Café Society’s seamlessness. But let’s allow the director to defend his choice on this. “I put myself in because I knew exactly how I wanted the words to be inflected,” Woody Allen explains, “I figured that since I wrote the ‘book’, it would be like I was reading a novel.”

“When I wrote the script, I structured it like a novel. As in a book, you stop a little while in this movie and see a scene with the protagonist with his girlfriend, a scene with his parents, followed by a scene with his sister or gangster brother, a scene with Hollywood wheeler-dealers, and then the café society with politicians, debutantes, playboys, and the people cheating on their wives or shooting their husbands. To me it was always a story not of one person but of everybody.”

Which is the perfect description of Francis Ford Coppola’s classic 1984 film The Cotton Club, starring Diane Lane and Richard Gere — but with much more music and impasto in the plot. The Cotton Club’s Gere then shows up, years later in Chicago, a musical homaging the period once again, but with velvet tasseled camp. These are favorite elements of the genre in other words. But this is not the Fred McMurray Café Society of 1939, either, about a spoiled socialite who runs off with a reporter and finds shipboard love. Caf19381sht16Even Sunset Boulevard captures the period in its periphery, because we love the stories that tell stories about Hollywood behind the scenes. Café Society is essentially entering the horse race classics of cinema history, in other words. Woody Allen is not alone, as mentioned, the Coen Bros are also in silks this year. Speaking of George Clooney-topper Hail Caesar!, far from Barton Fink, this latest saga includes capers, kidnapping, and a Communist plot — more Busby Berkeley gets high, than the non-ironic homage that Allen offers — also more fun. Yet 40 years ago, F. Scott Fitzgerald’s Elia Kazan-Sam Spiegel film The Last Tycoon (1976), starring Robert De Niro and based on the unfinished novel, is more in the neighborhood of the kind of film Allen makes here, without the deep, rending sorrow of Tycoon.

So in a way, Woody Allen is harking back to a period he knows a great deal about, including being acutely aware of what has been produced in the past to reflect it. Referencing venue “The Cotton Club,” once located at 142nd St. in Harlem, Allen admits “that era has always fascinated me. It was one of the most exciting times in the history of the city, with tremendous theater life, café life, and restaurants. Up and down the line, wherever you were, the whole island was jumping with nighttime sophisticated activities.”

The word “tremendous” seems to be his go-to, and in the Woody Allen style of filmmaking, let’s insert a ‘knee play’ here, just to set up the backstory behind the press screening, because like a fascinating scene, it begs remembering.

On the night Café Society is screened in Santa Monica, the heavyweights, the veterans, take their scattered seats for the private showing. Kenneth Turan of the Los Angeles Times is doing his ritual pre-film separating of the pages in his archetypal Reporter’s Notebook, so the page turning won’t make noise during the show; Leonard Maltin strolls in to join his wife, who has been conducting some future business on one of his engagements on speaker-phone. The speaker-phone conversation is a mini-plot point in itself, which speaks directly to the intimacy of this gathering. There’s the venerable “sea of gray hair,” but also two younger reporters trading barbs to lessen the palpable tension. In a sense, this audience tells you everything you need to know about the difficulty in reviewing a film whose writer-director is still, shall we say, radio-active in the media.

You kind of live a story behind the story in your plush seat in a storied private Dick Clark Screening Room showing, just like the plot twists in Café Society. Woody Allen. Those two words have produced a lot of art and shaped a lot of lives, mine included, from seeing Annie Hall through Blue Jasmine to one of my favorites, Melinda and Melinda (Radha Mitchell, also with Steve Carrell).MelindaBridge16
In fact, there’s the same bridge scene locale used in Melinda in Café Society. CafeSocUS1sht16 The press kit includes every single title Allen has ever made, a gentle reminder of his gravitas. Then you make up your own mind about the whole panoply of issues, and watch for personal reasons… because you love the movies.

Café Society, written and directed by Woody Allen, is distributed by Amazon Studios and Lionsgate, for showtimes in a limited roll-out visit

Café Society is A Woody Allen film

Directed and Written by Woody Allen

Produced by Letty Aronson, Stephen Tenenbaum, and Edward Walson

Starring Jeannie Berlin, Steve Carell, Jesse Eisenberg, Blake Lively, Parker Posey, Kristen Stewart, Corey Stoll, and Ken Stott


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