DON'T BOTHER TO KNOCK is not one of Marilyn Monroe's more famous roles, though it is one of her earliest starring roles--and is far better than I'd expected. Marilyn plays a young lady whose uncle works at a hotel. He asks her to come babysit for some guests and everything seems fine...at first. At about the same time, Richard Widmark and his girlfriend, Anne Bancroft, are at odds--she wants to break up and he wants her back--but she'll have none of it.

Later, Widmark is feeling sorry for himself and notices Monroe through the window. On a lark, he phones her and tries to make a date. When she hangs up, he soon pops over to the room. While he seems like the one with the problem, she turns out to be seriously mentally ill. She thinks he is a long-lost lover (who is actually dead) and he becomes afraid of her, as she's very possessive and even frantic to keep him there. However, while her mental state is fragile, it quickly falls apart--and the child's life might just be at stake.

The film gets high marks for dealing with a very disturbed woman without being too salacious or exploitational. Yes, she's insane and there is some serious tension in the film, but the film makers don't let Marilyn's performance go "over the top"--making the film well made and memorable. I liked her vulnerability and think it's one of her better acting jobs--not as flashy or over-the-top as many of her later films, where she is almost a caricature of her sexy self. A well made yet very simple film.

There was great potential here with 'Don't Bother to Knock'. Was really intrigued to see how Marilyn Monroe would fare in one of her more dramatic roles. Richard Widmark was a fine actor, especially good at playing villains and anti-heroes (one of the best at those types of roles at that time). Roy Ward Baker was a more than reliable director with enough of his films being worth watching. The cast did sound interesting as did the film's story.

Part of me was rather disappointed in 'Don't Bother to Knock' and have not found it an easy film to rate and review. There are undeniably good things here and it is worth seeing for particularly one aspect, it is a long way from a terrible film despite not being the film that it had big potential to be (at least a very good one). But considering the potential it did have, which was quite a lot, it could have been a lot better than it turned out and most involved did much better work before and since. 'Don't Bother to Knock' is worth a look once, if not much more, and anybody doubting Monroe's acting ability will be pleasantly surprised.

Will get the not so good things out of the way. For my tastes, 'Don't Bother to Knock' was too lacking in suspense and psychological depth. Though with glimmers from Monroe's character, when she starts to unravel, and some nice tension towards the end. Actually found some of the first half quite static and plodding. Baker's direction is disappointingly uninspired and literally a case of getting the job done and not much else.

'Don't Bother to Knock's' cast is variable. Some of them tended to be awkward and there are far better representations of Widmark in far meatier roles, he has tough and tender moments but there are too many ill at ease and uncharacteristically going through the motions ones too. Sorry if anybody disagrees.

However, 'Don't Bother to Knock' is made well visually and moodily scored. Some of the script is thoughtful and engaging and there are strong moments, primarily when Nell unravels, and some nice tension towards the end. The first half is not particularly strong, but it does get better and more engaging when Nell becomes more interesting.

Jim Backus is a supporting cast standout and Anne Bancroft impresses in her feature debut. Best of all is the atypically cast Monroe in one of her best ever performances, giving a nail-biter of a performance that proves that she did have strong dramatic chops. One can see and feel the fire in her eyes and when Nell unravels Monroe is really quite chilling.

Summing up, worth seeing for primarily Monroe but was expecting more. 6/10

Don't Bother To Knock finds airline pilot Richard Widmark flying with more than the safety of his passengers on his mind to New York. He's on a mission to confront Anne Bancroft who's given him a 'let's call it a day' letter. Anne works as a singer in a posh New York nightclub attached to one of the fancier hotels. After a nasty scene with Bancroft, Widmark's left with an itch to scratch.

The answer might be Marilyn Monroe across the courtyard looking real provocative and arousing Widmark's interest. He gives her a call and things might be going good. Then the little girl, Donna Corcoran, wakes up from the next room and Marilyn starts to act very weird indeed.

This one was one of Marilyn's first roles which exploited a little more than her beauty. She plays a troubled young lady who's just spent some time in a mental institution. Her uncle Elisha Cook, Jr., got her that job as a babysitter for Corcoran whose parents Jim Backus and Jeanne Cagney are at a banquet in the hotel. Truth be told the role was no stretch for Marilyn given her own sad history.

Widmark's not a particularly noble character here, but he's a decent enough man. He's just like millions of other men who when they lose their love, cure it with trying to love what's available. Anne Bancroft makes a nice screen debut here although I can't believe she sung those songs herself. If so, why didn't she do any more singing on screen?

Though the film gets melodramatic and the characters don't give you any real rooting interest, Don't Bother To Knock remains a landmark film for the careers of both Marilyn Monroe and Anne Bancroft.