An engaging film despite a thin story line involving a psycho who's taken five hostages in a down-scale local bar. In Dial 1119, as in so many noir films, the locations, sets, and artifacts, are usually more interesting than the plot line. For me, the most remarkable feature of this film is the prominent TV set in the bar where most of the action takes place (the sport being watched is pro-wrestling). The bartender at one point claims it's 3 ft by 4 ft which would make it pretty large for a black and white 1950 TV anywhere. The TV though is more than a prop--it often dominates the screen and begins to take on a key role in the film when a TV reporter and camera crew from the cleverly named station WKYL arrive to cover the police rescue action, which is then seen broadcast on the bar TV. Not only is the TV now internally competing with the Motion Picture, but this must be a very early movie scene detailing TV news coverage. To make matters more interesting, one of the hostages is a disgruntled newspaper editor and so the film also depicts what will become a growing competition between TV and print journalism.
