Columbia Pictures borrows a page from the Warner Brothers play book with this 1949 film, but where the WB would present a social commentary and let the viewer decide his own opinion, this film hits you over the head repeatedly with the notion that social ills are the cause of every youth gone wrong. Even Bogart's character, attorney Andrew Morton seems ready and willing to accept a major share of the blame for his client's behavior. Sorry folks, not buying it.<br /><br />Said client, the rebellious Nick Romano, is shown in a number of situations where instead of making the right decision, his choices end up getting him in trouble with the law. Or worse. Having found a good woman (Allene Roberts as Emma) to offer encouragement and support, Nick continues to spiral out of control with a hot head and hot fists. That she commits suicide is only one of the more melodramatic moments in a film that won't concede that just maybe "Pretty Boy" Romano is a career hoodlum by choice and not by chance.<br /><br />Bogart's character may not have added much in the way of role model either. When Nick steals a hundred dollars from Morton while away on a fishing trip, the attorney's response is to 'jackroll' the kid in an alley back in the city, while both are on dates with their gals. I wonder what the attorney/client privilege has to say about that one.<br /><br />Meant to be a breakout movie for John Derek, "Knock on Any Door" is sometimes noted to be his debut film, though he had a couple of credits to his name by this time. Instead, the film further enhanced the directorial career of Nicholas Ray, who went on to create one of the defining films of the mid 1950's - "Rebel Without a Cause". He and Bogey teamed up once more for "In A Lonely Place".<br /><br />For Bogart, this one doesn't seem to be one of his better performances, he seems a bit unaccustomed to being on the right side of the law. With limited screen time in the second half of the picture, George Macready as the prosecuting attorney, and Barry Kelley as Judge Drake offer solid support to the courtroom drama, particularly Kelley who's called upon to rein in the opposing lawyers who viciously snipe each other. John Derek plays out the 'pretty boy' angle right out to the closing frame, a bit unnerving to see him prepare for the electric chair by slicking back his hair one last time.