Nicholas Ray is a director whose oeuvre is somewhat erratic, and 1949's "Knock on Any Door" shows just how erratic it is. It stars Humphrey Bogart in his first film after leaving Warner Brothers, though it comes off like a Warner Brothers film made in the 1930s - it has a real "Dead End Kids" feel to it, particularly in the beginning. It concerns Andrew Morton (Bogart) defending a young man, Nick Romano (John Derek) whom he has helped in the past. Morton was too busy to defend Nick's immigrant dad on a charge for which he was not guilty, and Nick's father died in prison after some bad lawyering. Guilt for what happened to the boy's father keeps him in touch with the hoodlum and attempting to help him. Nick's family in reduced circumstances has to move to a bad neighborhood. Nick falls in with the wrong crowd and becomes a delinquent, his crimes growing larger and larger, culminating in the murder of a policeman.<br /><br />Nick's story is told in a series of flashbacks during his trial as Bogart attempts to show that society is guilty for the boy's fate. Of course one can only blame society so far. His family was in a better situation out west; he could have joined them at any time. He had jobs and a loving wife, but he couldn't stay employed. He had the support of Morton, and he stole money from him. Sooner or later, a person has to take the help offered and decide to change, or nothing is going to do any good.<br /><br />There were scenes of reform school abuse, which perhaps could have been a film in itself and had more impact, as it was brutal and not at all rehabilitative.<br /><br />There was a strange plot device which seemed solely for the purpose of adding to the boy's troubles - his wife, (Allene Roberts) makes a decision at one point which comes out of nowhere and is very abrupt and probably went against her character.<br /><br />Bogart looks fantastic - tanned, healthy, and immaculately dressed in expensive suits. His down-to-earth delivery and excellent timing is always great to watch. He plays the part of a compassionate man/passionate lawyer beautifully.<br /><br />This film marked John Derek's debut. He was a true '50s hunk, with thick dark hair and smoldering eyes. His acting is adequate for the role, but not of the deeper quality of, say, James Dean. He really had no interest in stardom and turned his attention to wives and photography later on. Nevertheless, you couldn't ask for a more auspicious beginning. The character doesn't come off as very sympathetic - if that was the goal, it failed. I'm not sure it was Derek's fault, but more the fault of the script.<br /><br />All in all, watchable for Bogie, who is always a master and certainly a story that will hold your interest.