Dial Red O

THE WAY SHE LOVED ONE MAN...Became a murder rap for another!

5.3
19551h 3m

The first of the five films where Bill Elliott played a detective lieutenant in the L.A Sheriff's department, Dial Red "O" (the correct title with the number 0 (zero), as on a telephone dial, shown in ") opens with war-torn veteran Ralph Wyatt getting word that his wife is divorcing him, and he flees the psychiatric ward of the veteran's hospital, wanting to talk to her. His escape touches off an all-out manhunt, led by Lieutenant Andy Flynn of the sheriff's department.

Cast

Photo of Bill Elliott

Bill Elliott

Andy Flynn / Andy Doyle

Photo of Helene Stanley

Helene Stanley

Connie Wyatt

Photo of Keith Larsen

Keith Larsen

Ralph Wyatt

Photo of Paul Picerni

Paul Picerni

Norman Roper

Photo of Jack Kruschen

Jack Kruschen

Lloyd Lavalle

Photo of Elaine Riley

Elaine Riley

Policewoman Gloria

Photo of Robert Bice

Robert Bice

Sgt. Tony Columbo

Photo of Rick Vallin

Rick Vallin

Deputy Clark

Photo of George Eldredge

George Eldredge

Major Sutter

Photo of John Phillips

John Phillips

Deputy Morgan

Photo of Mort Mills

Mort Mills

Newspaper Photographer

Photo of Gregg Barton

Gregg Barton

Attendant (uncredited)

Photo of Larry J. Blake

Larry J. Blake

Wayne - Waiter (uncredited)

Photo of John Hart

John Hart

Uniformed Deputy (uncredited)

Photo of Forrest Lewis

Forrest Lewis

Captain (uncredited)

Photo of Sam Peckinpah

Sam Peckinpah

Cook in Diner (uncredited)

Photo of Mike Ragan

Mike Ragan

Motorcycle Cop (uncredited)

Photo of Lee Roberts

Lee Roberts

First Patrolman (uncredited)

Photo of John Phillips

John Phillips

Deputy Morgan (uncredited)

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Reviews

G

CinemaSerf

6/10

Bill Elliott ("Det. Flynn") works quite well in this quickly-paced, more cerebral, hour long detective mystery. He must investigate the murder of "Connie" (Helene Stanley) who was having an affair with "Roper" (Paul Picerni). The finger for the crime is initially pointed at her somewhat shell-shocked husband "Wyatt" (Keith Larsen) but we know the truth (we've known all along) and so now we get to follow as both "Flynn" and "Wyatt" try to fathom out the truth. At times the photography goes too obviously out of it's way not to show us anything of the violent themes here. The code? Sure, but also a distinct lack of imagination from director Daniel Ullman didn't help either. From a production perspective, there is nothing special about any of this - indeed, Stanley is pretty terrible - but the story has plenty of twists and turns before an ending that does this cheap and cheerful B-feature just enough justice to make it worth a gander.

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