The local, urban, hole-in-the-wall dive bar, a prime location for Film Noir that ranks up there with the greasy spoon, all-night diner, back-room gambling operation, lounge and nightclub. It is also the setting for Dial 1119, a low-budget, intense and thought provoking 1950 Noir B-picture from Metro-Goldwyn-Mayer.
The dive bar in this case is the 'Oasis Bar' (an Oasis it is not) a former speakeasy run by a cynical, world-weary man with a permanent scowl who the patrons affectionately call 'Chuckles' (William Conrad). It is about to be invaded by a young, fresh-faced, mentally unbalanced, homicidal killer (Marshall Thompson). Leave it to Noir to have descriptors and outward appearances be the complete opposite to what is really going on internally.
|Marshall Thompson playing a mentally unbalanced killer|
|An urban 'Oasis' in the concrete jungle|
|Marshall Thompson playing a killer with deep, mental turmoil that is about to erupt|
|'Chuckles' new TV set plays a key role in this picture|
|The 'Oasis' Hostages held at bay|
|Andrea King as barfly Helen comes across as the strongest of all the characters|
|Hal Baylor and Sam Levene on opposite sides of a complicated issue|
|Doctor and Patient reunite|
It is available as part of the Film Noir Collection Volume 5, available from Warner Home Video.