Don't Bother to Knock

Don't Bother to Knock, a psychological thriller released in 1952, is a compelling blend of suspense and dramatic performances, casting three of Hollywood's notable figures – Richard Widmark, Marilyn Monroe, and Anne Bancroft - at the pivotal stages in their careers. Directed by Roy Ward Baker, the film unfolds over a series of harrowing events from the confines of a single hotel room over a single evening, tightly wounded narratives that expertly blend everyday life with anguish and terror.

The plot revolves around the Hotel McKinley in New York City, becoming an arena of suspense, anxiety, and psychological reverberations. Richard Widmark plays the role of Jed Towers, a no-nonsense airline pilot, whose services have been weaponized by the military. He's both successful and cynical, nursing emotional wounds from a recent breakup with Lyn Lesley (Anne Bancroft), the hotel's lounge singer.

In contrast, Monroe portrays Nell Forbes, a fragile young woman, freshly released from a psychiatric hospital. Under the misguided belief that her psychiatrist deems her fit for the trials of ordinary life, she takes up a babysitting job in the same hotel where Jed resides. With her unsettled past and mental instability, Nell’s character pivots the movie from mundane hotel life into a well-structured crescendo of psychological tension.

Bancroft, in her film debut, plays Lyn Leslie convincingly. Despite her role being smaller and with fewer scenes compared to Monroe and Widmark, Bancroft’s character is the voice of reason, the observer who first senses that something is amiss and takes action. Bancroft fully exploits the potential of Lyn Leslie, navigating through the turns and intricacies of her character with deftness.

The screenplay, crafted by Daniel Taradash, is based on Charlotte Armstrong's novel "Mischief." It renders the crux of the story well, highlighting the unraveling psychological status of Nell (Monroe). As the story moves forward, it introduces dramatic spins, gradually elevating the suspense level and the inevitable fear within viewer’s minds. Its well-structured plotline coupled with compelling performances offers an intrinsically oppressive ambience that delivers the dramatic intensity the film sets out to achieve.

Marylin Monroe's portrayal of Nell Forbes remains one of her most critically appreciated performances. Straying from her usual roles of the naive, attractive blonde, Monroe elicits deep empathy for Nell as she convincingly portrays her character's internal turmoil. Her portrayal of deeply-seated fear and despair amidst her troublesome past and hopes for normalcy sets the viewers on an emotional ride.

Richard Widmark, known for majority roles as the villain, is a refreshing presence as the essentially good-natured Jed. His transition from cynical heartbreak to unexpected rescuer is seamless. Widmark’s convincing performance throws light into the mind of a young man grappling with his relationship woes, aiding the multidimensional characterization of his role.

The direction by Roy Ward Baker is worthy of accolade, as he magnificently transforms a limited space – the hotel - into a colossal maze of suspense and psychological disturbances. The dreariness of the external landscape, visualized through stark black-and-white frames, waylays the viewers deeper into the labyrinth of suspense.

In "Don't Bother to Knock," every tiny detail matters - the layered characters, their unspoken thoughts, the ambient music, and the turbulent story twists. It is more than just a suspense thriller. It’s a skilled examination of human psychology, a potent picture of the despairing human struggle with mental health issues – well ahead of its time for the 1950s.

The movie is an essential watch for all suspense-thriller enthusiasts. However, it is Monroe's departure from her regular glamorous on-screen persona that makes this movie a stand-out in her filmography. By delivering an earnest performance, displaying her capabilities as a serious dramatic actress, she brings heartfelt credibility to her disturbed character, making the film not just an effective thriller but also a showcase of her often-underestimated acting prowess.

In conclusion, "Don't Bother to Knock" is a beautifully orchestrated, psychological thriller that deftly interweaves suspense, drama, and touchy social issues. A great example of plot compression, the movie never fails to keep the viewer on edge. Monroe, Widmark, and Bancroft all turn in memorable performances, making the film an absolute gem from Hollywood's Golden Age.