Les ruelles du malheur

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.

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. ****

Some have justly criticized this film for moralizing too much. However I still enjoyed it for the acting (Bogart of course and John Derek as well) and for the intelligent exploration of how much responsibility rests on the individual and how much on society. A note of interest is that Dewey Martin (Nicky's friend Butch) would later play Bogart's brother in The Desperate Hours. I also appreciated character actor Vince Barnett's (The Killers) portrayal as the less than reliable bartender. All in all, a flawed but nevertheless worthwhile film, 7/10.

"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 affects 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 the 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.

Star-studded cast. Good acting throughout. Pretty intense at times. Solid camera work. Odd courtroom scenes. Well worth seeing !