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Les ruelles du malheur

Titre original : Knock on Any Door
  • 1949
  • Approved
  • 1h 40min
NOTE IMDb
6,6/10
4,6 k
MA NOTE
Humphrey Bogart, John Derek, and Allene Roberts in Les ruelles du malheur (1949)
Official Trailer
Lire trailer1:38
1 Video
99+ photos
Film NoirCrimeDrama

Ajouter une intrigue dans votre langueAn attorney defends a young hoodlum charged with murdering a policeman using the oppressiveness of his client's upbringing in the slums to appeal to the sympathies of the jury.An attorney defends a young hoodlum charged with murdering a policeman using the oppressiveness of his client's upbringing in the slums to appeal to the sympathies of the jury.An attorney defends a young hoodlum charged with murdering a policeman using the oppressiveness of his client's upbringing in the slums to appeal to the sympathies of the jury.

  • Réalisation
    • Nicholas Ray
  • Scénario
    • Daniel Taradash
    • John Monks Jr.
    • Willard Motley
  • Casting principal
    • Humphrey Bogart
    • John Derek
    • George Macready
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,6/10
    4,6 k
    MA NOTE
    • Réalisation
      • Nicholas Ray
    • Scénario
      • Daniel Taradash
      • John Monks Jr.
      • Willard Motley
    • Casting principal
      • Humphrey Bogart
      • John Derek
      • George Macready
    • 70avis d'utilisateurs
    • 35avis des critiques
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 3 victoires au total

    Vidéos1

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

    Photos140

    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
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    Voir l'affiche
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    + 132
    Voir l'affiche

    Rôles principaux99

    Modifier
    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
    • (non crédité)
    Vince Barnett
    Vince Barnett
    • Carl Swanson
    • (non crédité)
    Theda Barr
    • Girl
    • (non crédité)
    Richard Bartell
    • Reporter
    • (non crédité)
    Paul Baxley
    • Policeman
    • (non crédité)
    Joan Baxter
    • Maria Romano
    • (non crédité)
    Eddie Borden
    Eddie Borden
    • The Chef in Poolroom
    • (non crédité)
    • …
    Hazel Boyne
    • Woman
    • (non crédité)
    Joe Brockman
    • Man
    • (non crédité)
    Argentina Brunetti
    Argentina Brunetti
    • Ma Romano
    • (non crédité)
    Charles Camp
    • Waiter
    • (non crédité)
    • Réalisation
      • Nicholas Ray
    • Scénario
      • Daniel Taradash
      • John Monks Jr.
      • Willard Motley
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs70

    6,64.6K
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    10

    Avis à la une

    bobsgrock

    Lost in the mix of an all-too obvious message.

    Humphrey Bogart's first film away from the controlled environment of Warner Brothers shows its technical flaws, particularly in the script which consists of scene after scene of relentless polemical exposition detailing the supposed evidence for why society has just as much a blame as the criminals living in the slums produced by them.

    This is not a new message from the movies and after World War II, the intent to clean up the streets of America became much more of a signature statement for the left-leaning political crowd as a way to counter the focus on international affairs. Bogart and director Nicholas Ray were certainly huge figures in that movement but Bogie's first time as producer and Ray's second feature film leave much to be desired. Most of the performances are either too stiff or too exaggerated. Only Bogie manages to maintain a collected and understated performance despite his unnecessary preaching at the end. Perhaps no other actor in history portrays hard-edged cynicism better than Bogart, which makes it all the more surprising that his character remains this way for much of the film only to jump on society in the final scene.

    Ray's direction is nothing too special as he was still feeling his way around a movie set. He does, however, exhibit some interesting and striking visual tricks, foreshadowing future films to come.
    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.
    7perfectbond

    Tone down the rhetoric

    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.
    7aimless-46

    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 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.
    8ronnybee2112

    Heavy-handed at times but intense!

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

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      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.
    • Gaffes
      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.
    • Citations

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

    • Crédits fous
      "And introducing John Derek as Nick Romano"
    • Connexions
      Featured in Great Performances: Bacall on Bogart (1988)

    Meilleurs choix

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    FAQ19

    • How long is Knock on Any Door?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 19 avril 1950 (France)
    • Pays d’origine
      • États-Unis
    • Langues
      • Anglais
      • Italien
      • Latin
    • Aussi connu sous le nom de
      • Llamad a cualquier puerta
    • Lieux de tournage
      • Lake Arrowhead, San Bernardino National Forest, Californie, États-Unis
    • Société de production
      • Santana Pictures Corporation
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 900 000 $US (estimé)
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 40 minutes
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.37 : 1

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    Humphrey Bogart, John Derek, and Allene Roberts in Les ruelles du malheur (1949)
    Lacune principale
    By what name was Les ruelles du malheur (1949) officially released in India in English?
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