Dial 1119 is an exceedingly well-made B-movie. It’s suspenseful, well-acted, and holds up extremely well. You don’t have to be a fan of film noirs or “old movies” to enjoy this one. As long as you can tolerate watching movies shot in black & white, Dial 1119 will keep you on the edge of your seat for its brief running time of 1 hour and 15 minutes.
Dial 1119 takes place in the fictional burg of “Terminal City,” where an insane young man named Gunther Wyckoff (Marshall Thompson) has come in search of his psychiatrist, Dr. John D. Faron (Sam Levene). The title refers to the police, fire, and ambulance emergency number that exists in the world of the film. (Although a nationwide emergency phone number was proposed in the 1950s, it wasn’t until the 1960s that 9-1-1 became the standard in North America.)
Wyckoff is a convicted murderer who has escaped from a hospital for the criminally insane. Dr. Faron’s testimony kept Wyckoff from going to the electric chair, but the young man is clearly deeply disturbed. He is obsessed with war, death, and murder, and is a deadly threat to anyone who crosses his path.
After stealing a pistol and killing a bus driver, Wyckoff goes in search of Dr. Faron. When he finds his office closed for the night, he crosses the street to the Oasis Bar, where he holes up and takes hostages.
It’s surprising how current many aspects of Dial 1119 feel — like hostages watching their own predicament on TV. All the chime-in Charlies blathering into a reporter’s microphone about what they’d do if they were in the same situation will feel eerily familiar to anyone who’s read comments on an article on the internet.
Also, if you’re used to television sets in movies from the 1950s with screens that are the size of a postage stamp, brace yourself for the biggest TV screen you will see in a movie from 1950. The bartender at the Oasis, Chuckles (William Conrad), has a TV that’s so large and flat that it almost looks like a modern hi-def set. He mentions at one point in the film that he paid $1,400 for the television set, and then complains that for all the money he paid it still only shows crummy westerns and professional wrestling. Replace “westerns” with “reality shows” and this movie could take place in 2016.
One of the things I especially loved about Dial 1119 was how much of the story is told without dialogue or music. We watch the actors’ nervous eyes and sweating faces, and we know exactly what they’re thinking. The score by André Previn is great, but it’s used very sparingly, and never tells the audience how to feel. The actors’ performances and Gerald Mayer’s deft direction tell us everything we need to know.
Dial 1119 has a low budget and was obviously shot as a second feature, but M-G-M productions were always glossy, nicely lensed affairs, even when they were “B” flicks.