Many famous quotes are in popular perception associated with the wrong people. This includes "Live fast, die young, and leave a good-looking corpse", a motto that is attributed to James Dean as the perfect embodiment of the rebellious and hedonistic spirit of his generation. This mistake is easy to explain, with Dean’s tragic demise in 1955, the details of which matched those words. Actually, this phrase can be traced back eight years earlier to Knock on Any Door, the 1947 best-selling novel by black writer Willard Motley. The same phrase was used two years later in the novel’s eponymous screen adaptation, a crime drama directed by Nicholas Ray.
The nominal protagonist of the film, played by Humphrey Bogart, is Andrew Morton, an attorney who reluctantly agrees to defend young career criminal Nick Romano (played by John Derek), accused of murdering a police officer. Morton's decision is driven by his personal history with Nick—his law firm had previously botched the case of Nick's immigrant father, plunging the family into poverty, and Morton himself had grown up in the same mean streets as Nick. At the trial, Morton attempts to gain the jury's sympathy by recounting Nick's transformation from a good altar boy to a delinquent whose life revolved around drinking, gambling, petty and some not so petty crime.
Nicholas Ray was an apt choice to direct this film, as he had consistently shown great empathy for young, rebellious characters on the margins of society, as exemplified by his collaboration with James Dean in Rebel Without a Cause. Bogart, one of the film's producers, was attracted to the project due to its serious treatment of juvenile delinquency, which appealed to his left-leaning beliefs. However, Bogart's performance, while solid, is somewhat overshadowed by the more central role of Nick Romano.
The film's primary weakness lies in the portrayal of Nick Romano, played by John Derek in his first major role. He was clearly cast for his good looks, which is even recognised by scriptwriters who give the nickname “Pretty Boy” to his character and have him gain adoring female fans in the courtroom. Derek's performance suffers in comparison to James Dean's iconic turn in Rebel Without a Cause, making his otherwise acceptable performance appear unconvincing, especially in the tense courtroom scenes opposite the formidable George Macready as the prosecutor.
The film's biggest flaw, however, is its preachy social message, which discards any notion of individual responsibility and places the blame for Nick's crimes squarely on the shoulders of a cold, heartless society and its repressive criminal justice system. This approach, which gives "bleeding-heart liberalism" a bad name, is further exacerbated by the melodramatic subplot involving Nick's wife, Emma, which lends an overly Hollywood-esque quality to the story.
Despite these shortcomings, Knock on Any Door is well-directed, with Nicholas Ray's trademark visual style and attention to the plight of marginalised youth. The film also briefly addresses the issue of racial prejudice through the character of Nick's black friend, "Sunshine" Jackson, played by Davis Roberts. The legacy of Knock on Any Door can be seen in Let No Man Write My Epitaph, Motley’s 1958 sequel to his novel, which was adapted in 1960 into an eponymous film starring James Darren.
While a solid film that actually deals with some important issues, Knock on Any Door represents a disappointment to those who based their expectations on the big names like Bogart and Ray. For those who watch the film, it becomes clear why John Derek became better remembered as a director, photographer, and Bo Derek's husband, rather than a big Hollywood star.
RATING: 6/10 (++)
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