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IMDbPro

Llamad a cualquier puerta

Título original: Knock on Any Door
  • 1949
  • Approved
  • 1h 40min
CALIFICACIÓN DE IMDb
6.6/10
4.6 k
TU CALIFICACIÓN
Humphrey Bogart in Llamad a cualquier puerta (1949)
Official Trailer
Reproducir trailer1:38
1 video
99+ fotos
Film NoirCrimeDrama

Un prestigioso abogado liberal, surgido de los barrios bajos y la pobreza, asume la defensa de un joven delincuente acusado de asesinar a un policía.Un prestigioso abogado liberal, surgido de los barrios bajos y la pobreza, asume la defensa de un joven delincuente acusado de asesinar a un policía.Un prestigioso abogado liberal, surgido de los barrios bajos y la pobreza, asume la defensa de un joven delincuente acusado de asesinar a un policía.

  • Dirección
    • Nicholas Ray
  • Guionistas
    • Daniel Taradash
    • John Monks Jr.
    • Willard Motley
  • Elenco
    • Humphrey Bogart
    • John Derek
    • George Macready
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    6.6/10
    4.6 k
    TU CALIFICACIÓN
    • Dirección
      • Nicholas Ray
    • Guionistas
      • Daniel Taradash
      • John Monks Jr.
      • Willard Motley
    • Elenco
      • Humphrey Bogart
      • John Derek
      • George Macready
    • 70Opiniones de los usuarios
    • 35Opiniones de los críticos
  • Ver la información de producción en IMDbPro
    • Premios
      • 3 premios ganados en total

    Videos1

    Knock on Any Door
    Trailer 1:38
    Knock on Any Door

    Fotos140

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    Elenco principal99

    Editar
    Humphrey Bogart
    Humphrey Bogart
    • Andrew Morton
    John Derek
    John Derek
    • Nick Romano
    George Macready
    George Macready
    • District Attorney Kerman
    Allene Roberts
    Allene Roberts
    • Emma
    Candy Toxton
    Candy Toxton
    • Adele Morton
    • (as Susan Perry)
    Mickey Knox
    Mickey Knox
    • Vito
    Barry Kelley
    Barry Kelley
    • Judge Drake
    Florence Auer
    Florence Auer
    • Aunt Lena
    • (sin créditos)
    Vince Barnett
    Vince Barnett
    • Carl Swanson
    • (sin créditos)
    Theda Barr
    • Girl
    • (sin créditos)
    Richard Bartell
    • Reporter
    • (sin créditos)
    Paul Baxley
    • Policeman
    • (sin créditos)
    Joan Baxter
    • Maria Romano
    • (sin créditos)
    Eddie Borden
    Eddie Borden
    • The Chef in Poolroom
    • (sin créditos)
    • …
    Hazel Boyne
    • Woman
    • (sin créditos)
    Joe Brockman
    • Man
    • (sin créditos)
    Argentina Brunetti
    Argentina Brunetti
    • Ma Romano
    • (sin créditos)
    Charles Camp
    • Waiter
    • (sin créditos)
    • Dirección
      • Nicholas Ray
    • Guionistas
      • Daniel Taradash
      • John Monks Jr.
      • Willard Motley
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios70

    6.64.6K
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    Opiniones destacadas

    7thinker1691

    " Of all the crimes you committed, this is one, you shouldn't have ! "

    Humphrey Bogart has created an impressive resume in movies. Thus when trying to choose which film personifies his best, it's difficult to say. Some would offer it's the 'Petrified Forest', others would argue and suggest 'The African Queen', or 'The Maltese Falcon'. They are all Classics, still this movie " Knock on any Door " is the one I would select. The story is taken from the novel by Willard Motley and able directed by Nicholas Ray. Seen in Black and White it relates the story of Nick Romano, superbly played by handsome John Derek (the stone-cutter from The Ten Commandments). Growing up wild and undisciplined in the wet streets of a big city, he is arrested for a Capital crime and stands a good chance of imprisonment or death. However, the only obstacle to that bleak future is able defense attorney Andrew Morton, attorney at law. The courtroom drama is inter-fused with the life of the young Romano and Bogart is at his best with a incredible narrative which encompasses the film. The drama is excellent as is the acting, leaving little doubt the end result is one of Bogart's best. Easilly offered or recommended to any fan of Bogart or Derek as a Classic picture. ****
    6michaelRokeefe

    Live fast and die young.

    Humphey Bogart in his first movie for his own production company Santana. And introducing "pretty boy" John Derek. Bogart plays a sympathetic lawyer defending a juvenile delinquent(Derek)on trial for murder. Pretty average Film-Noir, but good enough to hold your interest. Courtroom scenes provide high drama and then comes the twist ending that really is not so surprising. Also in the cast are:George Macready, Allene Roberts and Mickey Knox. And then there is Dooley Wilson tickling the ivories.
    6James_Take2

    Bogart class in dated courtroom drama

    A film for Bogart aficionados as this great actor once again oozes class as the tough but empathetic lawyer.

    The film though doesn't hit the same mark. The script is fairly weak and dated. Similarly the plot is tenuous and as a movie it hangs together as a romantic drama to coming of age drama, to crime drama with noir touches to retrospective character study of a juvenile delinquent turned criminal and finally all under "courtroom drama". It tries to hard to be too many things and doesn't really do justice to any of them - only Bogart and McCready's performances save this movie from being destined to the "forgettable bin".

    The pace and direction is generally good and though it was Nicholas Ray's second film, his cinematography and style (using noir tones and angles) is a clear forerunner of his classic noir films including In a Lonely Place (again with Bogart) and On Dangerous Ground.

    And so to John Derek, he definitely had the pretty boy looks for the "Pretty Boy Romano" role but his acting is lame and isn't believable - no matter how much Bogart and McCready (who incidentally puts in a solid performance as the DA) try to drag him up to their standard.

    All in all, a reasonably interesting and engaging watch despite the flaws. Had Ray cast a better actor than Derek (e.g. Clift, Garfield or Curtis) and developed a more robust plot and less cliched script, this could have been up there as yet another classic in the Bogart canon.
    dougdoepke

    Worth a Closer Look

    Critics are correct: Knock on Any Door is flawed, perhaps badly flawed. However, it's also an interesting film from a number of standpoints, with several important compensations critics tend to overlook. I think it's worth examining some of each since the film does feature the legendary Bogart and perhaps the fastest rising young director of the time, Nicholas Ray. So why then are the results as mixed as I think they are. Here are a few conjectures.

    A central weakness lies in the casting. Taking on the lawyer's role meant that Bogart's star power would require an expanded role for the attorney. That's unfortunate because the lawyer's part is both marginal to the plot and strictly one dimensional -- that of a "tough love" social reformer. Small wonder Bogart fans generally dislike the movie-- he gets a long emotional speech but no real chance at the darkly ambiguous character that was his specialty. The fact is that the part could have been filled by any number of lesser actors without loss to the movie as a whole

    The real star part, of course, is John Derek's hard-luck Nick Romano. It's a complex role that would tax even the best young actor. Unfortunately, Derek lacks both the intensity and emotional depth central to the character's predicament. He's appropriately brash and arrogant, but lacks the the tragic dimension of sensitivity. It's too bad his career began with such a demanding role. The woeful tantrum scene at the lakeside cabin may be an extreme example, still it does illustrate the problem. The prospect of Brando doing the part is a fascinating one, but one that regrettably fell through.

    Too bad also that the courtroom scenes are prolonged (probably to accommodate Bogart's starring role), since they amount to another key flaw. They're stagey, uninspired, and clash with the expressively noirish atmosphere of the slums. It's like two contrasting halves glued together in hopes that they will complement rather than clash. But conflict they do, because the slum scenes bring out the expressive artistry of director Ray, while the high-key lighting and prolonged dialog of the court resemble the boilerplate of the old Perry Mason show. I expect Ray did these scenes on auto-pilot..

    And, of course, there's the final courtroom plea that should have been sent back for re- write. Critics are correct-- it's ham-handed to say the least. There have to be subtler, more effective methods of influencing the audience without hammering them in the process. The fact that the plea comes at movie's end leaves a bad last impression, which is why I believe so many of the positive elements tend to get over-looked.

    But those positive elements are indeed present. Note the electrifying opening, of cops plowing wildly through crowds of seedy bystanders That's pure Nick Ray. The crowds even look fairly authentic by 40's standards. They're also atmospheric and colorful. Note some of the distinctive characters-- the shuffling cadaver named "Junior", or the slippery "Kid Fingers", or the black man acting in a rare uncaricatured fashion. Note also some of the subtler miscellaneous touches, such as the flame that flares up from the restaurant tray the moment Derek pledges to reform-- an ominous portent; or the ugly hot water tank that dominates the visuals of the young couple's cold-water flat where Emma finds a home but Nick only finds desolation.

    There's also the film's central irony-- that the shrill, cruel-faced DA (George Mc Ready, with an enhanced scar) in fact wins the courtroom battle and Bogart loses. It passes by quickly, giving the DA no time to exult or the audience to react. But the fact is that attorney Morton (Bogart), who we've rooted for, has succumbed to systematic self-deception by seeing a version of his former self in the devious young Romano. This twist is jarring, because it abruptly overturns both movie convention and audience expectations.

    Where the movie really works-- as one reviewer sagely points out-- is as a love story between Emma and Nick. That's not surprising since no one was better at bringing out the touching side of romantic love than Ray ("They Live by Night" {1947} or "Rebel Without a Cause" {1955}). He was especially effective with actresses. Here Allene Robert's Emma transforms poignantly from vulnerable neighborhood waif into glowing young wife. She's really the one who's tragically trapped by poverty and circumstance. (Note the poignantly cheap ribbons in her hair as she lovingly prepares a dinner for Nick that he will never eat.) Too bad that this, the most effective phase of the film, is too often overlooked.

    Likely, the 90 minutes didn't help anyone's career, except maybe Roberts'. At least, Bogart and Ray were able to recover the following year with the artistically complete "In a Lonely Place" (1950), while Derek found a comfortable niche adorning a number of forgettable costume dramas.

    Nonetheless, there's something haunting for me about this movie. Perhaps it's the spectacle of social conscience gone awry. More likely, it's the lingering image of Emma, alone in that ugly flat, the ribbons in her hair. Her modest little dreams now dashed beyond repair. I really wish the movie had succeeded.
    6bkoganbing

    Confused Message

    Knock on Any Door was Humphrey Bogart's first film after leaving Warner Brothers. He and his Santana productions did a few for Columbia at that time.

    It's a throwback film to the Thirties, a time it was seen that all cures to society's ills was a better social program. That's the message that attorney Bogart was driving home to the jury, that for a few better breaks his client John Derek would be a solid citizen.

    Actually during the course of the film, what we see of John Derek's life showed he had some opportunities and blew them. It also did show that the family had some rotten luck. A mixed message to say the least.

    The film shows Bogart as an attorney and his involvement over the years with young John Derek who was making his screen debut. Derek has been arrested for killing a policeman after a bar stickup and he turns to Bogart for help. The first part of the film is Bogart's opening remarks to the jury at the murder trial and we see in flashback, Derek's life and how it intertwined with Bogart's.

    The second half was the trial itself and the aftermath. George MacReady as the District Attorney probably gave the best performance in the movie. Another reviewer described MacReady as evil. Granted he usually is in his roles, but here he's just one very effective prosecutor.

    Yet Knock On Any Door, confused as it is, does still raise some relevant questions. The scenes in the reform school are still being shown today and had their not been Code restrictions might have been more graphic. I only have to cite the movie Sleepers from a few years back.

    Bogart fans will like it and John Derek certainly merited the nickname "pretty boy."

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    Argumento

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    • Trivia
      When Humphrey Bogart was told that director Nicholas Ray wanted to film the entire 'sentencing statement for the defense' sequence in a single take, Bogart was concerned because he had never delivered such a long speech without cuts and feared he couldn't do it. Ray calmed Bogart down, suggested several rehearsals, and much to Bogart's surprise, Ray rolled during the rehearsals filming most of what has become the famous and well-played sentencing sequence.
    • Errores
      The court artist is seen several times drawing various characters as photography is banned in courts then all of a sudden about half a dozen press photographers appear from nowhere and take several close range flash photographs of one of the witnesses in the witness box.
    • Citas

      Nick Romano: Live fast, die young, and have a good-looking corpse.

    • Créditos curiosos
      "And introducing John Derek as Nick Romano"
    • Conexiones
      Featured in Great Performances: Bacall on Bogart (1988)

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    • How long is Knock on Any Door?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 2 de julio de 1949 (México)
    • País de origen
      • Estados Unidos
    • Idiomas
      • Inglés
      • Italiano
      • Latín
    • También se conoce como
      • Knock on Any Door
    • Locaciones de filmación
      • Lake Arrowhead, San Bernardino National Forest, California, Estados Unidos
    • Productora
      • Santana Pictures Corporation
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

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    • Presupuesto
      • USD 900,000 (estimado)
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

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    • Tiempo de ejecución
      1 hora 40 minutos
    • Color
      • Black and White
    • Relación de aspecto
      • 1.37 : 1

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