Admirable film.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Humphrey Bogart's initial offering as an executive producer for his Santana Production company, suffers from a long flashback sequence in which Bogart disappears while John Derek does all the running. Most of this flashback is both clichéd and dull. Fortunately, Bogie's scenes are not only more suspenseful script-wise, but are enlivened by the actor's usual charisma. Admittedly, John Derek does a reasonable job, but only Bogie and George Macready can handle the sometimes preachy screenplay with both charisma and authority. True, Cara Williams, Jimmy Conlin, Houseley Stevenson and Vince Barnett handle their lesser roles with similar conviction, but they are not required to step out of character. Despite the script's faults, it does provide some heart-stopping action both in and out of the courtroom. Nicholas Ray's driving direction and Burnett Guffey's superbly noirish photography also contribute. This film is now available as a Columbia DVD.

As in THEY LIVE BY NIGHT and later REBEL WITHOUT A CAUSE, Nicholas Ray explores the life of a troubled youth, driven by fate and circumstance to exist outside societal rules. In this case, John Derek is a fella from the slums, being defended by attorney Humphrey Bogart for the murder of a policeman. The film uses a series of flashbacks to reveal the developing relationship between the two as Bogart tries to reform the boy but his efforts are thwarted by the cold, unfeeling world around them. Even as a bleeding heart liberal, I found the moralizing a bit much, especially in Bogart's pleas to the jury. However, the performances are excellent and the film has a sensitive, poetic rhythm to it. The stylish camera-work by Burnett Guffey (one of the greats) maintains the noir vibe, with some gorgeous sequences. Also, the third act is a courtroom drama that manages to avoid a lot of the predictable tropes. Perhaps too earnest and a tad too slow, but a sorrowful and often beautiful movie.

This is the first movie which is Rayesque to the core.One of his most obvious permanent feature really appears for the first time: the search for a father.The relationship Bogart/Derek is intense (after the death of the biological one)and predates those of "Run for cover" (John Derek again playing opposite Cagney) and "Rebel without a cause " (Remember Plato to Jim and Judy: "I wish you could be my parents" )But I could also mention the Mitchum/Kennedy relationship in " lusty men" or even Heston and the Chinese girl in "55 days at Peking" .Or James Mason and his (biological this time) in "bigger than life".Emma's character predates The Rayesque young girl ,the one you meet again in "they live by night" (note how Allene Roberts resembles Cathy O'Donnell).Allene Roberts' beaming face and her hope against hope are the only ray of light in a dark tragical story.Like Fritz Lang,Nicholas Ray put the blame on the society.Nick was born under a bad sign ,like many of the director's heroes.John Derek gives an intense performance climaxing in the scene in the court when his wife's suicide is revealed.Bogart shines as his lawyer (he's more convincing in this kind of part than he was in "marked woman").Excellent screenplay with a superb editing ;many contemporary movies (such as the brilliant "Usual suspects" ) might have been influenced by the first scenes.Note that the story begins during the cast and credits ,which shows that Ray ,when he was on top of his game,did not know filler.

KNOCK ON ANY DOOR and you'll find a kid like Nick Romano, living in the slums and headed for a life of crime. That's the theory proposed by HUMPHREY BOGART, as a lawyer defending Nick after the boy is on trial for killing a policeman. I tend to agree with Leonard Maltin who calls it a "serious but dated drama" that serves as a star vehicle for JOHN DEREK rather than Bogart in the top-billed lead.Nicholas Ray directs it with authority, keeping it a tense and taut tale of juvenile delinquency and using the flashback technique to keep the narrative flowing smoothly as Bogart builds a sob story defense for the boy before a skeptical but carefully chosen jury.ALLENE ROBERTS is the nice girl Derek can't forget and doesn't want to get hurt by his inability to stay off the mean streets. The juvenile delinquency theme is never handled with as much realism as it would be years later when Nicholas Ray directed James Dean and Natalie Wood in REBEL WITHOUT A CAUSE. JOHN DEREK is almost too clean-cut to be totally convincing as a young hood but he certainly fits the description of "pretty boy".The performances are all top notch, and Bogart is solid and smooth as the lawyer whose own past involved a brush with crime. Unfortunately, the romance between Derek and Allene Roberts seems fabricated and their involvement never seems believable with her character being too sweet and naive.Summing up: Interesting but dated crime drama will satisfy Bogart's fans. The final courtroom scene gives the film a much needed punch and Bogart is at his best in his final plea to the jury. The judge's final decision may come as a surprise to some.