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Rating:  - Sub par for a Bogie flick
Its hard for me to put down a Bogart movie. Since he is considered one of the best actors of the last century. Which is true.
But this wasn't the right film for him.
This would've been the perfect frist film for him to direct rather than star in. That is if it wasn't so badly written.
The premise of the film is about the social conditions of inner-city youth. As timely a topic then as it is now.
However the movie as an essay on the subject failed. Both
technical and literally.
It came off too preachy and as I said before, Badly written.
But I give it 3 stars, because of the acting of both stars
Bogart and John Derrick.
I also recomend seeing the film because of Derrick.
This was his first film role. Most people only know him from
his later films. Such as The Ten Comandments, and the fact that
he was once married to the now forgotten actress Bo Derrick.
But back in the 40's he was a young and very hansome kid.
The Brad Pitt of his day. Still it a nice addition to any Bogart
film collection.
Rating: - Better As a Romance Than a Crime Drama
"Knock on Any Door" (Columbia 1949), a combination courtroom drama and delinquent youth social statement, was Nicholas Ray's directorial debut. Humphrey Bogart plays lawyer Andrew Morton, one time street tough turned idealistic lawyer. Bogart's independent production company made the film shortly after he broke away from Warner Brothers. Bogart's part was originally intended for Marlon Brando, but Brando withdrew after the death of producer Mark Hellinger.
On the verge of becoming a partner in his big-time law firm, Morton is yanked out of his ivory tower and into the past by the need to defend accused murderer Pretty Boy Romano (John Derek), who he attempted to help when Romano was a petty teenage criminal. This is told in flashbacks with Romano repeating his credo: "live fast, die young, and have a good looking corpse". Probably the first film use of what has become a very tired expression. Morton carries a lot of guilty baggage into the trial. He blames himself for the imprisonment of Romano's father, an event that plunged the family into poverty and led to Romano's life of crime. Through the years he had tried to help Romano who had married a nice girl and attempted to go straight. But setbacks at work returned Romano to crime. Then his pregnant wife's suicide unhinged him and he killed a cop.
The "Knock on Any Door" expression refers to Morton's plea for leniency during the trial, as he blames the conditions in the slums and the effects of poverty for Romano's actions. Stating that behind any door are young men whose lives will be wasted unless they receive guidance and are assisted in becoming productive citizens.
"Knock on Any Door" provides a nice example of the unpredictability inherit in the film making business. A look at screenplay and cast would lead you to expect the film's strengths to be the Bogart-Derek scenes and the courtroom drama, with the romantic background story (told in flashbacks) a glaring weakness.
But the trial scenes which take up a substantial part of the film suffer from the usual procedural inaccuracies and are not particularly effective dramatically. Bogart pretty much plays his Captain Queeg character ("The Caine Mutiny") and spends more time whining than defending. The Bogart-Derek scenes are nothing special and there is no chemistry between the two actors. The narrative actually contradicts the theme of outrage over social inequities. The simplistic conclusions about social justice ring hollow and any sympathetic feelings toward Romano seem misplaced.
The production design is great. When combined with the haunting black & white photography it makes for one of the best looking examples of the film noir genre.
What ultimately saves the film and actually makes it rather special is the romance between Romano and Emma (Allene Roberts). This unlikely character pairing (imagine James Dean's "Rebel" having a serious relationship with Melanie from "Gone With the Wind") somehow works as Roberts and Derek have a real chemistry together. And she introduces intangibles that are missing from the rest of the production. In addition, the relationship itself introduces a nice irony as it is the pressure to make Emma proud of him and to tangibly demonstrate his love that ultimately leads Romano back to crime.
Then again, what do I know? I'm only a child.
Rating: - Enough of the social commentary already
Humphrey Bogart plays criminal lawyer Andrew Morton in a very mediocre drama "Knock on Any Door". Bogey who rose above meagre beginnings in the city slums is called upon to defend previous client, career criminal Nick Romano played by a baby faced John Derek. Derek who has committed and been convicted of a series of crimes is being held for the murder of a policeman during a robbery.
The format of the movie is basically a flashback detailing the life of Derek during his trial in the courtroom. What we see is a soapy and melodramatic treatise on the mechanism by which an innocent young boy is corrupted by the mean streets of an uncaring society. Director Nicholas Ray lays it on pretty thick using some hammy acting by Bogey and every cliche in the book to make his point. The trouble is we wind up not caring.
Unfortunately this well intentioned movie doesn't quite make it. This theme has been much more effectively been rendered in other more notable flicks such as Bogey inspired "Dead End". John Derek will never be confused with a talented actor judging by his performance in this movie.
Rating:  - JOHN DEREK - a pre-James Dean
I saw this years ago and was spellbound... Bogart and John Derek(Sinatra badly wanted the role but was thought too old)are at their best.... It really is in the same vein as Rebel without a Cause, Splendor in the Grass, My Own Private Idaho.... films about young people-coming-of-age and the problems the grown ups/the system/society does to individuals that not quite follow the stream.... It is a must-see because of these ingredients and that is was one of first of its kind.
Rating:  - Ouch
It's hard to believe that a Nicholas Ray film starring Humphrey Bogart could have turned out this badly. The problem is the script, which combines poor plot structure with leaden social commentary. Throw in some of the most laughably unrealistic courtroom scenes imaginable and you've got a near-total disaster. The only thing keeping this movie out of the one-star category is the occasional flash of acting or directing talent that intermittently rises above the dreadful script.
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