"Baby Love" by The Supremes

Today is cold and extremely windy and I feel under the weather, so this evening I will leave you with one of my favourite songs. "Baby Love" would be one of the earliest and biggest hits for The Supremes. It was written by the songwriting team of Holland–Dozier–Holland, who wrote and produced many of The Supremes' hits, as well as hits for Martha and The Vandellas and The Four Tops.

"Baby Love" hit no. 1 on the Billboard Hot 100 on October 31 1964. It was their second number one, after "Where Did Our Love Go?," making them the first Motown group to have more than one number one record. It hit no. 1 on the UK singles chart on November 19 1964, making them the first all-female group to have a number one record on the chart. Across the Pond, it was still at no. 1 on the Billboard Hot 100.

Hawk: An Obscure Burt Reynolds TV Series

In the Sixties, Burt Reynolds's star was on the rise. Since the late Fifties, he had made several guest appearances on television. Starting in 1962 he played half-Comanche blacksmith Quint Asper on Gunsmoke. In 1966 he starred in the spaghetti Western Navajo Joe. It should have then come as no surprise that Burt Reynolds received his own television series in 1966. Hawk was historic as the first American television show to centre on a Native American in a modern-day setting (it was preceded by Brave Eagle and Broken Arrow, which were both  Westerns).

Hawk starred Burt Reynolds as New York City police lieutenant John Hawk, who was full-blooded Iroquois. Hawk worked as a special investigator for the District Attorney's office. His partner was Dan Carter (Wayne Grice). Bruce Glover played Assistant District Attorney Murray Slaken, while Leon Janney played Assistant District Attorney Ed Gorton.

Hawk was created by Allan Sloane, who had written for such television series as The Big Story, Navy Log, Lamp Unto My Feet, and East Side/West Side. He was among the entertainment professionals who had been listed in the right-wing, anti-Communist pamphlet Red Channels. As a result in November 1952, CBS informed him that it would no longer accept any of his scripts. Fortunately, Mr. Sloane would find his way back to working in the television industry.

Hawk was one of a number of Native American roles Burt Reynolds played in his career, including Quint on Gunsmoke. For much of his career, Burt Reynolds claimed to be Cherokee. In his memoir But Enough About Me, Mr. Reynolds wrote "My dad had Native American blood. By the time it got down to me there wasn't much left, but I was proud of what there was."  Regardless, none of Burt Reynold's ancestry has been verified to have been Native American, despite his claims and the fact that he played many Native Americans throughout his career.

Aside from featuring a lead character who was Native American, Hawk was a bit ahead of its time in other ways. The show was filmed on the streets of New York City. Only a few shows before Hawk, such as Naked City and Route 66 regularly shot on location, with most series during the 1966-1967 season still being shot on studio backlots. Hawk also had a grittier, more realistic feel than many police dramas of its time, and in some ways was closer to such Seventies movies as The French Connection (1971), Serpico (1973), and The Taking of Pelham One Two Three (1974).

Hawk debuted on ABC on September 8 1966. For the most part, the series received positive reviews. Harry Harris of The Philadelphia Inquirer described Hawk as "Taut, suspenseful." Jack Gould wrote in The New York Times, "Enough virtues to suggest the series may find a niche for itself." Terence O'Flaherty called Hawk, "One of the best crafted of the new television programs." While Hawk received positive notices, it did not receive good ratings. Hawk aired on Thursday night at 10:00 Eastern/9:00 Central opposite The Dean Martin Show on NBC (which ranked no. 14 for the season) and The CBS Thursday Night Movie (which ranked no. 29 for the season). Against such competition, Hawk did so poorly that it was cancelled on December 29 1966 after only 17 episodes.

NBC aired repeats of Hawk during the spring of 1976 following Burt Reynolds's success in such movies as Deliverance (1972) and The Longest Yard (1974). In the Eighties, Colex Enterprises syndicated Hawk to local stations. More recently, it has aired on GetTV,

By today's standards Hawk is somewhat problematic. If made today, the question of Burt Reynold's Naive American heritage or lack thereof would make the show controversial. In fact, it seems likely that if Hawk had been made today an enrolled member of a Native American tribe would be cast as John Hawk. As it was for much of the 20th Century it was standard procedure for white people or other ethnicities to be cast as American Indians. On the 1950s television show Brave Eagle, the title character was played by Keith Larsen, who was Scottish, Danish, and Spanish in descent. In the Fifties, Middle-Eastern-born Michael Ansara played lead roles as Native Americans no less than twice, playing Cochise in the TV show Broken Arrow and Deputy Marshal Sam Buckhart in Law of the Plainsman.

Another problem with Hawk is that the show is essentially an assimilationist narrative. While we are told John Hawk is Iroquois, the culture and customs of the tribe play no real role on the show. John Hawk has been thoroughly assimilated into white society. This is in sharp contrast to later shows centred on Native American lawmen. While the star of Nakia, Robert Forster, was English and Italian in descent, the show often acknowledged Navajo traditions and customs. The three adaptations of Tony Hillerman's "Leaphorn and Chee" novels that aired on PBS and the current series Dark Winds (also based on Tony Hillerman's) not only feature Native American actors in the lead roles but go even further in the portrayal of Navajo culture.

While Hawk never dealt with the customs and culture of the Iroquois, the show is notable in dealing with the racism and discrimination that John Hawk faced, both on the streets of New York City and in the District Attorney's Office. While several television Westerns had dealt with racism against American Indians over the years, in the Fifties and Sixties it was rare that discrimination against Native Americans was dealt with in a modern setting.

Of course, as noted above Hawk was the first American show to centred on a Native American in a modern setting. Outside of Westerns, Native Americans were nearly invisible on American television. It was rare that Native Americans appeared in a modern setting. The absence of Native Americans from shows set in the present day for much of American television's history could well give the impression that Native Americans are a thing of the past, that they have gone extinct, or that they are no longer relevant.

The past several years have seen representation of Native Americans in films and on television somewhat improve from what it was. Not only have there been shows starring Native Americans, but shows made by Native Americans as well. This has allowed for much more accurate portrayals of Native life. While Hawk had many flaws, in some ways the show did pave the way for Native American characters on television.

The Late Great Shel Talmy

Shel Talmy, who produced legendary songs for The Kinks, The Who, and The Easybeats, died on November 13 2024 at the age of 87. The cause was complications from a stroke.

Shel Talmy was born on August 11 1937 in Chicago. From an early age he had an interest in music and how it was made. He was 13 years old when he appeared on the television version of Quiz Kids. After graduating high school Shel Talmy worked for ABC Television for a brief time. Afterwards he began working at Conway Studios Los Angeles, where he learned to use three-track recording equipment. He produced his first single after only three days at Conway Studios Los Angeles, "Falling Star" by Debbie Sharron. He also worked with the surf band The Marketts, The Castells, and Rene Hall and Bumps Blackwell.

It was in the summer of 1962 that Shel Talmy went to the United Kingdom for what was supposed to be a five-week vacation. He took only a small amount of money with him and he thought he might earn more as an independent music producer while he was on vacation. He signed to Decca Records, where he produced such acts as The Bachelors and Chad & Jeremy.

It was in 1964 that Shel Talmy produced what would be his breakthrough single, "You Really Got Me" by The Kinks. The song went to no. 1 in the United Kingdom and no. 7 in the United States. It also proved to be highly influential. Shel Talmy would produce several more songs for The Kinks, including their hits "All Day and All of the Night," "Tired of Waiting for You," "Till the End of the Day," "Dedicated Follower of Fashion," "Sunny Afternoon," and "Waterloo Sunset."

The Kinks' song "You Really Got Me" so impressed Pete Townshend of a band called The High Numbers that it inspired his song 'I Can't Explain." He played the song for Shel Talmy in hopes that he would produce it. Shel Talmy agreed and it became the first song he produced for The Who, as The High Numbers became known. "I Can't Explain" proved to be The Who's first hit in the United Kingdom, going to no. 8 on the singles chart. He also produced their next hit, "Anyway, Anyhow, Anywhere," which also hit the top ten of the British singles chart. Shel Talmy went onto produce The Who's singles "My Generation," "A Legal Matter," "The Kids Are Alright," and "La La La Lies." He also produced The Who's debut album, My Generation.

Shel Talmy would also produce the hit singles "Friday on My Mind" by The Easybeats, "Just Like a Woman" by Manfred Mann, "A Summer Song" by Chad & Jeremy,  and "(If Paradise) Is Half as Nice" by Amen Corner. While in Britain he produced songs for such other artists as David Bowie, The Creation, Roy Harper, Pentangle, The Fortunes, and many others. He was also part of the music department of the horror movie Scream and Scream Again (1970).

By the early Seventies Shel Talmy was producing fewer records. During the Seventies he would still do some remarkable work as a music producer, producing records, for Follow the Buffalo,  The Damned, Eddie Phillips, Small Faces, Ralph McTell, and Band of Joy. Shel Talmy returned to the United States in 1979. Although he worked less on producing records, he still served as a producer for such artists as Sorrows, Jon and the Nightriders,and  Fuzztones. He more recently produced records for Hidden Charms and Strangers in a Strange Land.

Shel Talmy was quite simply a music legend. He was a pivotal figure in the British Invasion, producing some of its best known songs, from "You Really Got Me" to "My Generation" to "A Summer Song." He also played an important role in the careers of The Kinks and The Who. Arguably he was essential to the development of the subgenre power pop having produced such songs as "You Really Got Me" and "I Can't Explain." While perhaps best known for the work he did with such rock artists as The Kinks, The Who, and The Creation, he also worked in other genres. He produced songs for the folk group Pentangle and folk rock artist Roy Harper. Shel Talmy had an enormous impact on music that will continue to be felt for years to come.

William Conrad in Film Noir

For many, William Conrad will always be the narrator on Rocky and Bullwinkle or detective Frank Cannon on the TV series Cannon. For others he will always be Marshal Matt Dillon on the radio show Gunsmoke or prosecuting attorney J. L. "Fatman" McCabe on Jake and the Fatman. For film noir fans, he may be best remembered as a heavy in several films noirs.

As an actor in the late Forties and the Fifties, William Conrad found himself in the same situation as another large actor, Raymond Burr. Both often found themselves cast as heavies in films noirs, Westerns, period dramas and even horror movies. In a interview with James Bowden in the September 14 1993 issue of The Toronto Star, Raymond Burr said of his early career, "I was just a fat heavy. I split the heavy parts with Bill Conrad. We were both in our twenties playing much older men."  In various films noirs it not difficult to picture Raymond Burr in a William Conrad part or William Conrad in a Raymond Burr part.

Indeed, William Conrad began playing heavies early in his film career. In fact, his first credited role was the hitman Max in the classic film noir The Killers in 1946. As hitmen Max and his partner Al (Charles McGraw) are deadly serious. Early in the film they calmly and coolly take over a small town diner, making it clear that this is something they regularly do. As Max, William Conrad makes a lasting impression. It is made all the more remarkable by the fact that The Killers was only his second film.

William Conrad's next major heavy in a film noir, Quinn in Body and Soul (1947), is as sleazy as Max in The Killers (1946) is calm, cool, and collected. Quinn is the manager of boxer Charley Davis (John Garfield), and for Quinn making a quick buck is more important than Charley winning matches. Indeed, he is more loyal to making money than any boxer he has ever managed.

In Sorry, Wrong Number (1948) William Conrad plays a rather different sort of heavy. Morano is amiable and even a bit charming, but he has no objections against instructing someone else to commit murder. While Morano is an affable sort, the same cannot be said for Ollie in One Way Street (1950). Part of the crew of a heist of $500,000, Ollie not only has no objections to murder, he has no objections to committing it himself. What is more, he is not particularly friendly either. In contrast to Ollie, Louie Castro in Cry Danger (1951) is a bookie and in some ways not particularly brave.

While William Conrad played criminals in film noirs, he also played police officers. In East Side, West Side (1949), he played homicide detective Lt. Jacobi. In Tension (1950) he played another homicide detective, Lt. Blackie Gonsales, who assists fellow homicide detective Lt. Collier Bonnabel. In the 1951 version of The Racket, William Conrad played Detective Sergeant Turk. In Cry of the Hunted (1953) he played Goodwin, an assistant to lawman Lt. Turner, who is searching for a dangerous fugitive.

In two other film noirs, William Conrad played roles that were far removed from either criminals or cops. In Dial 1119 (1950) he played Chuckles, the ill-fated bartender at the Oasis Bar. In 5 Against the House (1955), he played another unlucky character. He played casino employee Eric Berg, who is threatened with death if he does not assist the crew robbing the casino.

In many ways William Conrad had more luck with roles in radio and on television than he had in movies. Often playing heavies in the movies, in radio and on television he actually played heroes. While he would play many bad guys in television guest appearances, he also played Matt Dillon on the radio show Gunsmoke and Frank Cannon on Cannon. Still, while he might have tired of playing one heavy after another in the movies, there can be no doubt that William Conrad was very good at being a bad guy. Max in The Killers, Quinn in Body and Soul, and Morano in Sorry, Wrong Number, remain memorable for reason.

Some Tips for Using BlueSky

The past week has seen the social media service BlueSky add one million users as people flee Twitter (which its owner insists on calling "X"). I have been on Bluesky for over a year (since October 29 2023) and in the past two days, both my followers and those I follow have doubled. With so many people joining BlueSky, I thought I would offer some tips I have learned over the months I have been using it.

Starter Packs: Everyone who has ever joined a social media service has had difficulty finding people to follow once they have joined a new service. I have to think many people wind up searching for their friends on the new service, something that can take time. Fortunately, this summer BlueSky introduced a solution to this problem. Starter Packs are a feature that allows users to find people and feeds to follow right away. Anyone can create a Starter Pack. All of the Starter Packs I have seen are devoted to a specific subject. I created one I call the Classic Movie & TV Starter Pack, which includes fans of classic movies and TV shows (most of them are from the TCMParty and Svengoolie crowds). I have seen others devoted to Comic Book Journalists, TV and Pop Culture People, the Reuters Newsroom, and so on. Starter Packs are a good way to find people to follow right away. I really wish BlueSky had them when I had joined.

Lists: In addition to Starter Packs, BlueSky also has lists that function pretty much in the same way as Twitter's lists do. Now some of you might be wondering what the differences between lists and Starter Packs are. Well, for one thing, lists only include users, while Starter Packs can include both users and feeds. For another thing, when one follows a Starter Pack, they follow every single person and feed in that Starter Pack. When one follows a list, they are not actually following all of the users on that list, even though they will see their posts in their feed.


Custom Feeds: Custom feeds are one of the things that really separates BlueSky from Twitter and some of the other microbloggers. While BlueSky's default "Following" feed displays posts from everyone and everything a user follows, custom feeds allow the user to create their own algorithm for a feed. For instance, one could create a custom feed where one only sees photos of people's pets. I created one that displays all posts using the hashtag Svengoolie. Custom feeds are good for someone who wants a more curated experience on BlueSky. There are websites that make creating a custom feed easy, including SkyFeed and BlueSky Feed Creator.

Hashtags: Like Twitter, Tumblr, and Instagram, BueSky uses hashtags. As might be expected, hashtags are another way one can customize one's experience on BlueSky. If you click on a hashtag on BlueSky, a little box will pop up that reads "See (hashtag); See (hashtag) posts by user; and Mute (hashtag). If one wants to see posts for #TCMParty and one is looking at a post containing the hashtag, all they would have to do is click on #TCMParty and then click "See #TCMParty." Clicking "See #TCMParty by user" would show one all the posts by that user containing the hashtag. If one, God forbid, clicked "Mute #TCMParty," that would make it so that one would never see posts containing the hashtag.

Unfortunately, BlueSky is still a bit wonky when it comes to hashtags. For instance, unlike the primary "Following" feed, hashtag feeds can take quite a while to update on BlueSky. This makes live posting, such as #TCMParty and the live posts to #Svengoolie, somewhat difficult. Fortunately, there is a solution in the form of Deck Blue. Deck Blue is essentially the BlueSky equivalent of TweetDeck. With Deck Blue one can set how often one's feeds refresh. I have my #TCMParty and #Svengoolie feeds set to "15 seconds," which is a whole faster than they refresh on BlueSky itself!

Moderation: There was a time when BlueSky lacked a block button and content moderation was very much a work in progress there. Fortunately, that time was pretty much past by the time I joined in late October of last year. Today BlueSky has some of the best moderation tools of any social media service. Much like Twitter, one can mute words and hashtags. There are also moderation lists, in which one can mute or even block several users at once. As to the blocking function on BlueSky, it is fairly robust. Once a user is blocked, they cannot interact with the individual who blocked them in any way shape, or form.

As if all of this was not enough, one can disable or enable adult content, show or hide non-sexual nudity, and discourage apps from showing one's account to users who aren't logged in. Beyond all of this, there is also the BlueSky Moderation Service, through which one can hide everything from extremist posts to racist posts. This may well be why in the whole year I have been on BlueSky I have not seen much in the way of trolls.

Now one disadvantage to BlueSky that has, unlike many social media services, they do not have  private accounts. That means anyone can see one's posts except for those people they have blocked. This does not bother me, as all of my social media accounts are public except for Facebook, but it might be a deal breaker for some.

A number of alternatives to Twitter have arisen in the past few years, particularly since Twitter changed ownership in April 2022. And now it is fairly clear that Twitter is on its last legs. It would appear that many have decided BlueSky will be its replacement. Having been on BlueSky for over a year, I really cannot argue with that. It is a fine microblogger and feels a lot like Twitter had once been.

Godspeed Tony Todd

Tony Todd, who appeared in the movie The Crow and the "Candyman" movies, as well as the TV shows Star Trek: The Next Generation and Star Trek: Deep Space Nine, died on November 6 2024 at the age of 69 following a long illness.

Tony Todd was born on December 4 1954 in Washington, DC. He attended the University of Connecticut for two years before he received a scholarship at the Eugene O’Neill National Theatre Institute. Afterwards he spent time at the Hartman Conservatory in Stamford, Connecticut, and the Trinity Repertory Company in Providence, Rhode Island.

Tony Todd made his film debut in 1986 in Sleepwalk. He made his television debut in 1987 in an episode of Simon & Simon. In the late Eighties he guest starred on the shows Werewolf, 21 Jump Street, Kate & Allie, Night Court, Matlock, and Cop Rock. He appeared in the movies Platoon (1986), 84 Charing Cross Road (1987), Bang! You're Dead! (1987), Enemy Territory (1987), Colors (1988), Bird (1988), Lean on Me (1989). Night of the Living Dead (1990), and Voodoo Dawn (1990).

In the Nineties Tony Todd had recurring roles on the shows Jake and the Fatman, Star Trek: The Next Generation, Star Trek: Deep Space Nine, and Homicide: Life on the Street. He starred in the mini-series Black Fox. He guest starred on the shows Father Dowling Mysteries; Law & Order; The X-Files; Hercules: The Legendary Journeys; Murder, She Wrote; New York Undercover; Beverly Hills, 90120; NYPD Blue; Xena: Warrior Princess; Soldier of Fortune, Inc.; Star Trek Voyager; and Angel. He played the title role in the horror movie Candyman (1992). He would reprise the role in the sequels Candyman: Farewell to the Flesh (1995) and Candyman: Day of the Dead (1999). He played funeral director William Bludworth in Final Destination (2000) and reprised the role in the sequel Final Destination 2 (2003). He was the voice of a devil at an amusement park ride in Final Destination 3 (2006). He reprised the role of William Bludworth one last time in Final Destination 5 (2011).  He played Top Dollar's bodyguard Grange in The Crow (1994). He also appeared in the movies Sunset Heat (1992), Excessive Force (1993), Bunzy's Last Call (1995), Sabotage (1996),. The Rock (1996), Driven (1996), Stir (1997), Wishmaster (1997), Univers'l (1997), Shadow Builder (1998), Caught Up (1998), Butter (1998), The Pandora Project (1998). The Dogwalker (1999), and Le Secret (2000).

In the Naughts Tony Todd had recurring  roles on the TV shows Stargate SG-1, Chuck, and The Event. He guest starred on the shows UC: Undercover, Smallville, Crossing Jordan,  Andromeda, Charmed, Boston Public, CSI: Miami,.The District,  24, Night Stalker, Criminal Minds, Masters of Horror, Boston Legal, Without a Trace, 24, and Psych. He was a guest voice on Batman: The Brave and the Bold. He appeared in the movies Silence (2002), Control Factor (2003), Scarecrow Slayer (2003),. Murder-Set-Pieces (2004), Checking Out (2005), The Prophecy: Forsaken (2005), Dark Assassin (2005),. Heart of the Beholder (2005), Turntable (2005), Minotaur (2006),. Shadow: Dead Riot (2006), Hatchet (2006), The Strange Case of Dr. Jekyll and Mr. Hyde (2006), Shadow Puppets (2007), Tournament of Dreams (2007), The Man from Earth (2007), The Mansfield 12 (2007), Murders (2008), Dark Reel (2008), Nite Tales: The Movie (2008), The Thirst: Blood War (2008), Are You Scared? 2 (2009), Vampire in Vegas (2009), Penance (2009), The Graves (2009), Tom Cool (2009), The Quiet Ones (2010), Hatchet II (2010), and Three Chris's (2010).

In the Teens Mr. Todd was the voice of Zoom on the live-action television series The Flash. He had a recurring voice role on the animated series Transformers: Prime.  He had recurring roles on the daytime soap opera The Young and the Restless and Dead of Summer. He guest starred on the shows Hawaii Five-0, Room 104, Riverdale, The Orville, and Scream: Resurrection. He was a guest voice on the animated shows Young Justice and Bravest Warriors. He appeared in the movies Beg (2011), Dream in American (2011), Jack the Reaper (2011), The Family (2011), Falling Away (2012),. Changing the Game (2012), Sushi Girl (2012),. A Night at the Silent Movie Theatre (2012), Dead of the Nite (2013). Dust of War (2013), Kill Her, Not Me (2013), Army of the Damned (2013), Disciples (2014), Bleeding Hearts (2015), Vanish (2015), Agoraphobia (2015). Live Evil (2015), Scream at the Devil (2015). Beyond the Game (2016),. Broken Cross (2016), Zombies (2016), Victor Crowley (2017), Death House (2017), From Jennifer (2017). Two Faced (2017), The Debt Collector (2018), West of Hell (2018),. The Final Wish (2018). Drive Me to Vegas and Mars (2018), Requiem (2018), Candy Corn (2019). Badland (2019), Immortal (2019). Bulletproof 2 (2020),. Sky Sharks (2020), Tales from the Hood 3 (2020), and Stoker Hills (2020). He was a voice in the animated movies Lego DC Comics Super Heroes: Justice League vs. Bizarro League (2015), Lego DC Comics Super Heroes: Justice League – Attack of the Legion of Doom (2015), Reign of the Supermen (2019), and Justice League Dark: Apokolips War (2020).

In the 2020s Tony Todd was a regular voice on the animated series Dolta: Dragon's Blood. He appeared in the films Insight (2021), The Lockdown Hauntings (2021), The House Next Door: Meet the Blacks 2 (2021), Destination Marfa (2021), Candyman (2021), The Changed (2021), The Reenactment  (2021)., Horror Noire  (2021). Night Night (2021), All Gone Wrong (2021), Traveling Light (2021), Hellblazers (2022), Bitch Ass (2022),  Catfish Christmas (2022),  Realm of Shadows (2023),  Devilreaux (2023), Dixieland (2023), The Nana Project (2023), The Bunker (2024), and Stream (2024).

Tony Todd was an enormous talented actor. He made an impression as the quiet and intelligent, but deadly Grange in The Crow. He was suitably menacing as Candyman in the "Candyman" movies. He gave good performances as William Bludworth, the funeral director in the "Final Destination" movies who is an expert on Death. Although best remembered for his movie roles, Tony Todd also gave some remarkable performances on television. He was convincing as the bothersome, but nonetheless intrepid news reporter Matt Rhodes on Homicide: Life on the Street. He also gave great performances as Kurn, the younger brother of Lt Worf, on Star Trek: The Next Generation and Star Trek: Deep Space Nine. He was impressive in the X-Files episode "Sleepless" as former Marine Augustus Cole. Chances are good Todd will always be best remembered as Grange in The Crow and his work in the 'Candyman" and "Final Destination" movies, but he gave many great performances throughout his career.

Dial 1119 (1950)

Dial 1119 is not among the best known films noirs, but there is every reason it should. Dial 1119 was produced on a low budget, but is nonetheless a remarkable fan. Although it resembles a filmed play or the live television productions of its time (most of the film takes place on only two sets), it is still a very effective, very taught suspense movie. Besides this, in some ways Dial 1119 was prescient, addressing issues that would become discernible with the passage of time.

In Dial 1119 psychotic mental patient Gunther Wyckoff (Marshall Thompson) escapes from a mental hospital with the intent of finding and killing the psychiatrist who had him committed, Unfortunately, Wyckoff manages to get his hands on a gun and makes his way to Dr. Faron's apartment. Dr. Faron is not there, so Wyckoff goes to the Oasis Bar across the street. It is after the bartender realizes who Wyckoff is that the Oasis Bar finds itself hostage to the escaped mental patient as he waits for Dr. Faron.

Dial 1119 was one of the low-budget, messages films made at MGM when Dore Schary was head of the studio's "B" unit. It was also the first feature film to be directed by Gerald Mayer, the nephew of Louis B. Mayer. Gerald Mayer would go on to direct such movies as The Sellout (1952) and Bright Road (1953), but is perhaps better known for his work in television on such shows as Mission: Impossible and Mannix. The film had the working titles of The Violent Hour and The Standoff before finally being titled Dial 1119.

As a B-movie, Dial 1119 features no major movie stars, but much of its cast would be recognizable to fans of classic movies and television today Wyckoff is played by Marshall Thompson, who now may be best known s Dr. Tracy from the TV show Daktari. He already had a considerable resume, including appearances in The Clock (1945) and Mystery Street (1950). Sam Levene, who appeared in everything form After the Thin Man (1936) to Brute Force  (1947), played Dr. Faron. Leon Ames, now best known as father Alonzo Smith in Meet Me in St. Louis (1944) and District Attorney Kyle Sackett in The Postman Always Rings Twice (1946). William Conrad played the ill-fated bartender Chuckles. Recognizable to many for the Seventies detective series Cannon, he appeared in several films noirs, including The Killers (1946) and Body and Soul (1947). He would also be the voice of Matt Dillon on the radio show Gunsmoke and the narrator on the Jay Ward cartoons Rocky and Bullwinkle and Hoppity Hooper.

Dial 1119 took its title from the telephone number "1119," a fictional police emergency number in the movie. This was part of a trend towards movie titles containing phone numbers that included Call Northside 777 (1948) and Southside 1-1000 (1950). At the time Dial 1119 was made, the only emergency number in use in the entire world was 999, which had been in use in London since 1937.The number 999 would expand other parts of Britain over the years, but it would not go into use to all of the United Kingdom until 1976. As to the emergency number 911 in the United States, it would not go into use until 1968. In many ways Dial 1119 was then well ahead of its time.

Dial 1119 was also ahead of its time in that television plays a central role in the movie. It is through the television set in the Oasis Bar that bartender Chuckles learns escaped mental patient Wyckoff is in the bar. Of course, the television set in the bar is extremely advanced for the era. For one thing, it is a flat screen television. In 1954 General Electric introduced a proposal for a flat screen display that would provide the basics for flat screen television sets to come, but there would not be a mass-produced, flat screen television until 1997. It was manufactured by Phillips. The TV set is also controlled by a remote. Zenith manufactured a remote in 1950 that was connected to the television, but it would not be 1955 that there would be a wireless remote (the Flash-Matic).

Beyond Chuckles learning that Wyckoff is in the bar through television, television also played a major role in the film in another way. It is one of the earliest movies to ever depict a television station conducting a remote broadcast. In the movie television station a remote  location from WKYL-TV pulls up outside the bar and the station begins coverage of the unfolding hostage crisis. In this way Dial 1119 also serves as one of the earliest critiques of television journalism. Indeed, WKYL-TV's coverage often gives away the police department's strategy, even was Wyckoff is in the bar with a television set.

Dial 1119 is also notable for addressing mental illness, particularly the negative attitude many had towards it at the time. As might be expected, Dr. Faron is sympathetic to Wyckoff, knowing that he cannot help having a mental disorder. Unfortunately, others are not so sympathetic. When Dr. Faron offers to go into the bar to talk to Wyckoff, the police refuse to allow him to do so. Captain Kiever of the police department even flatly tells Dr. Faron, a licensed psychiatrist, "Nobody's going to talk this guy into surrendering." While Wyckoff is the antagonist of Dial 1119, he is presented sympathetically for the most part. Indeed, he was rejected by the Army after failing his psychiatric evaluation, after which his mental disorder only got worse.

Dial 1119 was released on November 3 1950. It received a mostly positive review form The New York Times, which begins "Since crime does not pay, and melodrama about crime is only persuasive if it keeps the customers on edge, Dial 1119, the modest but effective adventure which came to the Globe on Saturday, can be listed as fitting those specifications quite neatly." Wylie Williams in the Los Angeles Evening Citizen News also gave Dial 1119 a good reviews, writing, " "Moviegoers of the fingernail-biting variety are promised a good chewing session in Dial 1119, a thriller with enough suspense to go around for everybody."

While Dial 1119 received positive notices from critics, audiences did not flock to the film in 1950. It was made for only $473,000, but only made $402,000 in the United States and Canada. As a result, it did not make a profit. While it failed at the box office on its initial release, Dial 1119 would be regularly shown on television in the Sixties and Seventies. It has since been shown on cable channels such as TNT and TCM.

Although made on the cheap, Dial 1119 is a taunt, suspense-filled film filled with some fine performances and meaningful dialogue. It was also in many ways ahead of its time, one of the earliest films to critique television journalism and one of the earliest films to treat mental disorders as something other than a plot device.