"Dial 1119," a B-list production directed by Gerald Mayer, nephew of renowned producer Louis B. Mayer, takes its title from the emergency phone number that preceded 911 in the 1950s. The film centers around Gunther Wyckoff (Marshall Thompson), an escaped homicidal mental patient who inexplicably shoots a bus driver upon arriving at the fictional Terminal City bus depot. It's uncommon for a film noir to feature such a mentally unstable killer without delving into the motives behind their actions, but Wyckoff is truly deranged.
Wyckoff's primary objective is to find Dr. Faron (Sam Levene), the psychiatrist who had interviewed him three years earlier and was responsible for his commitment instead of facing the death penalty. When Wyckoff fails to locate Faron, he enters a bar, kills the bartender, and takes five patrons hostage, demanding that the police produce Dr. Faron within half an hour.
The five hostages present a diverse group of characters. Notably, Freddy (Virginia Field) stands out as a sassy barfly, while Harrison D. Barnes (James Bell) is a disenchanted newspaper reporter contemplating quitting. Skip (Keefe Brasselle), the bartender's assistant expecting a baby with his wife, and Helen (Andrea King), who becomes hysterical after witnessing the bartender's murder, add tension to the situation. Earl (Leon Ames), Helen's date, is an older gentleman to whom she is clearly not attracted.
The film effectively maintains engagement through a series of violent events, including Wyckoff shooting a police officer in the leg on the street and seriously injuring another officer attempting to reach him through an air conditioning vent.
Outside the bar, conflict arises between Faron and Captain Keiver (Richard Rober), the unsympathetic police officer in charge who bars the psychiatrist from entering and negotiating with Wyckoff. Keiver holds Faron responsible for preventing Wyckoff from receiving the death penalty for a previous murder three years ago.
The depiction of television as a central aspect of people's lives is an interesting element of the film. A large TV is present in the bar, and a television crew arrives on the scene, causing disruptions and clashes with law enforcement.
In a surprising twist, Faron enters the bar without permission to negotiate with Wyckoff but ends up shot dead, suggesting that the screenwriters had little sympathy for criminals, even those who are insane.
As the police detonate explosives on the bar's front door, Helen seizes the deceased bartender's pistol and shoots Wyckoff. The police then finish him off as he staggers outside.
The acting in the film is somewhat uneven, particularly when some of the hostages do not seem adequately shocked after their lives were endangered. Wyckoff's character also feels one-dimensional, and Thompson's portrayal largely revolves around continuous anger. Despite these shortcomings, "Dial 1119" manages to hold viewers' interest until the final shots, though it may not warrant multiple viewings.
Wyckoff's primary objective is to find Dr. Faron (Sam Levene), the psychiatrist who had interviewed him three years earlier and was responsible for his commitment instead of facing the death penalty. When Wyckoff fails to locate Faron, he enters a bar, kills the bartender, and takes five patrons hostage, demanding that the police produce Dr. Faron within half an hour.
The five hostages present a diverse group of characters. Notably, Freddy (Virginia Field) stands out as a sassy barfly, while Harrison D. Barnes (James Bell) is a disenchanted newspaper reporter contemplating quitting. Skip (Keefe Brasselle), the bartender's assistant expecting a baby with his wife, and Helen (Andrea King), who becomes hysterical after witnessing the bartender's murder, add tension to the situation. Earl (Leon Ames), Helen's date, is an older gentleman to whom she is clearly not attracted.
The film effectively maintains engagement through a series of violent events, including Wyckoff shooting a police officer in the leg on the street and seriously injuring another officer attempting to reach him through an air conditioning vent.
Outside the bar, conflict arises between Faron and Captain Keiver (Richard Rober), the unsympathetic police officer in charge who bars the psychiatrist from entering and negotiating with Wyckoff. Keiver holds Faron responsible for preventing Wyckoff from receiving the death penalty for a previous murder three years ago.
The depiction of television as a central aspect of people's lives is an interesting element of the film. A large TV is present in the bar, and a television crew arrives on the scene, causing disruptions and clashes with law enforcement.
In a surprising twist, Faron enters the bar without permission to negotiate with Wyckoff but ends up shot dead, suggesting that the screenwriters had little sympathy for criminals, even those who are insane.
As the police detonate explosives on the bar's front door, Helen seizes the deceased bartender's pistol and shoots Wyckoff. The police then finish him off as he staggers outside.
The acting in the film is somewhat uneven, particularly when some of the hostages do not seem adequately shocked after their lives were endangered. Wyckoff's character also feels one-dimensional, and Thompson's portrayal largely revolves around continuous anger. Despite these shortcomings, "Dial 1119" manages to hold viewers' interest until the final shots, though it may not warrant multiple viewings.