[The following is a contribution to the Nicholas Ray Blog-A-Thon for Tony Dayoub's Cinema Viewfinder.]
Opening on a quick zoom-in on a cop blowing a whistle, a frenzied police shootout and a brutal rounding up of the usual suspects, Knock on Any Door wastes no time exhibiting its maker's gifts. All of this unfolds in no time, with barely a few lines of dialogue scattered among throngs of witnesses and enraged police officers to make sense of things. Only someone like Nick Ray could use this torrid, forceful start to introduce what will eventually become a courtroom drama that uses flashbacks to craft a social study of the role of society in shaping thugs.
Ray frames the cop killing in shadow, enshrouding the face of the killer, but the police confidently charge Nick Romano (John Derek), a local thug with a a rap sheet as long as a medieval tapestry. Nick, like much of the movie, plays as a sort of run-through for the ideas Ray would flesh out further with Rebel Without a Cause. As if working his way up the social ladder, Ray precedes his take on the invasion of bourgeois, suburban values with a decidedly working-class overview of the same broad topic of disaffected youth. But if Nick, like Jim Stark, has no active cause, he is nevertheless the product of causes of a different sort, transformational social influences pointed out in detail by the visualized arguments of lawyer Andrew Morton (Humphrey Bogart).