Dial 1119

Marshall Thompson broke new casting grounds in playing the criminally insane escaped mental patient in Dial 1119. This film was out of the B picture unit at MGM and was far more likely to have previously come from a studio like RKO or Columbia. MGM was one of the last big studios to put out a realistic type noir film like this one.

Time and circumstances get six people trapped in a bar in the fictitious Terminal City where Thompson after taking a weapon from a bus driver and killing him over it, he holds up in a bar. When the news comes over the bar television, Thompson shoots bartender William Conrad and holds the other customers which include Virginia Field, Andrea King, Leon Ames, Keefe Brasselle, and James Bell as hostages.

Thompson had been convicted once of murder, but was declared insane and given a life sentence at an asylum due to the work of psychiatrist Sam Levene. A fact that police captain Richard Rober won't let him forget. They have a lot to say to each other during the course of the film.

Dial 1119 moves at a pretty good pace and not a minute of its 75 minute running time is wasted. The lack of really big movie names no doubt helps create the realistic aura of the film.

Marshall Thompson usually played good guys and will ever be remembered as Daktari from the television show. I suspect he never got roles like this again because the public wouldn't accept him just like Tyrone Power in Nightmare Alley.

This film is brutally uncompromising on its view of the death penalty. Opponents of capital punishment will not be pleased, but Dial 1119 is still a great noir film.

Dial 1119 is directed by Gerald Mayer and collectively written by Hugh King, Don McGuire and John Monks Junior. It stars Marshall Thompson, Virginia Field, Andrea King, William Conrad and Sam Levine. Music is by Andre Previn and cinematography by Paul C. Vogel.

The Killing Hour.

A compact suspenser, Dial 1119 can be seen as very much a prototype of future thrillers where a hostage situation takes place. Here the story basically sees Thompson as escaped mental patient Gunther Wyckoff, who takes a bus to Terminal City, grabs hold of a gun and holes up in a bar with a small group of hostages. His aim is to reap revenge on the doctor who spared him the electric chair and had him committed instead.

In the bar is the barman, the busboy who is an expectant father, a barfly broad, a Lothario and the young lady he had coerced into having a fling with him. As tensions rise in the bar, outside the crowd gathers and so does the press, who sensationalise the situation. The cops scratch around for a solution, one of which seems to be kill Wyckoff at any cost! The narrative has caustic observations on these outside parties, while it also brings into play the delusions of the troubled Wyckoff who believes he is a war torn ex squaddie. The film doesn't shy away from violence either, there will be blood, as it were.

It's acted and directed commendably and Vogel's black and white photography is crisp and perfectly in keeping with the tone of the picture. All in all it's a good and suspenseful way to spend 75 minutes. 7/10

This seldom seen, nearly forgotten gem stands out as a precursor to many movie motifs now taken for granted. A deranged young man, Gunther Wyckoff (whacko with a gun, played menacingly by Marshall Thompson in perhaps his best performance), shoots a city bus driver with the driver's own pistol, then holds up in a local bar using the patrons as hostages. In those long ago days when such occurrences were rare, there were no professional police negotiators. Ironically, Wyckoff does his own negotiating with the law, demanding to see the psychiatrist that is in charge of treating him.

What a crew of hostages: A barfly willing to bed anyone who buys her a drink, an old married fool making arrangements for a weekend tryst with a sweet young thing, a young man whose wife is in delivery at the hospital, a zealous reporter whose newspaper editor thinks he's a joke, and Chuckles, the bartender, played by the dour William Conrad of radio's "Gunsmoke" and later TV's "Cannon" fame. Maybe he got his moniker for being the opposite of chuckles, such as calling a big guy, Tiny. The interaction of this motley crew with each other and with the criminally insane killer makes up the biggest part of the flick. An alternate title was "The Violent Hour," which basically describes the plot of the film, approximately an hour's standoff between the psycho and the police who work to free the hostages unharmed. A young André Previn provides the appropriate atmospheric music.

What a splendid cast. Even workhorse Charles Lane, who is today 101 and says he is still available to do a show, is seen briefly on the tube in a man-on-the-street interview. And don't blink and miss June Cleaver (Barbara Billingsley) in a walk on part.

Items you don't see around anymore: A cigarette machine, a weight scale on the sidewalk, a pay telephone that costs a nickle to dial 1119 (no push buttons). Items that were curiosities at the time but are now part of everyday life: A flat-panel big screen TV, TV news hype, and, alas, crazies that for no reason shoot patrons who are total strangers.

The chosen title, "Dial 1119," which today reminds the viewer of "Call 911," is a fitting one. Labeling the location Terminal City, however, is a bit much.

What I liked about "Dial 1119" is that it's basically ignored as an example of film noir yet, for a film made in 1950, this thing was ahead of its time. First off, there's a big-screen TV in the bar, which plays an important part in advancing the plot. The folks who made this picture also foresaw the role that TV news would come to play in taking over a story. Good cast with William ("Cannon") Conrad as Chuckles the bartender, Leon ("Mr. Ed") Ames and Marshall ("Daktari") Thompson as the central character, our friendly neighborhood psycho. Finally, you've got a love a film noir selection that takes place in Terminal City.

Marshall Thompson stars in this interesting thriller as Gunther Wyckoff, a mentally unstable young man who has escaped from an asylum, killed a bus driver with a gun he acquired, then holds a bar hostage with several people inside. Both the authorities and hostages try to work with and understand why Gunther is so crazed, with little success, though it does have something to do with his war record... William Conrad is good as the bartender affectionately named Chuckles, who has a most surprising big screen TV in the bar, where they can see their drama play out live. Intriguing film with good performances makes thoughtful and prescient commentary on how live television coverage can affect the outcome of a crime, and the impact it has on all concerned.