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At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

Mostly, the movie is committed to the value of a good time.

"Inferno" is a film with a very simple plot. Despite this, it was given top treatment by improved sound AND 3D! And, as you watch, you can see in quite a few places that 3D gimmicks would abound...but it's still basically a good film.When the film begins, a rich man is injured in the desert and his unfaithful wife and her lover decide to leave him there to die of exposure. The problem is that Donald (Robert Ryan) is a very tough guy and he's determined to not only survive but last long enough to exact revenge. Fortunately, where the movie goes next is a bit unusual and yet satisfying.Much of the film consists of Donald talking to himself by having Ryan do voiceovers. This is risky but the director manages to make it work...and the film manages to take a very simple story yet make it worth your time.

Inferno is a small but excellent 1953 film about a beautiful woman (Rhonda Fleming) and her lover (William Lundigan) who leave the woman's husband (Robert Ryan) alone in the desert with a broken leg, assuming he'll croak. The story focuses on Ryan's character trying to survive in the desert and what he learns about himself.With gorgeous Rhonda Fleming in the movie, it's done in color. A chimpanzee could have played her part - there's precious little acting involved - but she certainly adds tremendous beauty to the production. She and another spectacular redhead, Arlene Dahl, both were getting larger roles in films at the time the studio system was winding down. Ten years earlier, they might have ruled the world. William Lundigan is appropriately cold-blooded as her horny lover, and Larry Keating is an appropriately concerned business associate.But this is Ryan's film, and he's top-notch. His thoughts come over as voice-over, and you're pulling for him every step of the way, despite everyone describing him as unpleasant.Excellent film, quite a surprise.

Pretty inventive script, Robert Ryan helps pull off quite a bit of voice over dialog, nice photography, (I did see it in 3D) well paced there are a number of clever script/plot elements that keep it going and a great fight scene(which features most of the 3D Fx in the movie).Sort of a desert Film Noir really, well directed by the mostly always good Roy (Ward) Baker this holds up. There is constant cross cutting between Ryan's plight in the desert and the two villains swimming or eating and drinking that really builds your hatred of them and your siding with Ryan.No mamsey pamsey character softening here, which keeps it tough, but reality based, throughout. It's not a cartoon at any moment which can happen with B films. Though also perhaps the limited character development keeps it slightly in the programmer category. Good music score by Paul Sawtell as well. This movie moves quickly doesn't have the soapy elements, or bloated running time, that killed off many color crime films in the 1950's.

In the history of motion pictures only two ideas (as far as I know) failed to catch on in improving the movies we see. One is the laughable "Aroma-vision" that was tried out in the late 1950s with a film that Peter Lorre and Desmond Elliot made called SCENT OF MYSTERY. People just don't like certain odors that can be on the screen in films. But the other was an 3-D, which should have succeeded. If you want to have a more realism in movies, then you should have a movie where depth adds some degree of reality. But 3-D was not used properly. The best recalled uses are in grade z films like ROBOT MONSTER. The best uses of the process were in Alfred Hitchcock's DIAL "M" FOR MURDER, in the Vincent Price horror classic HOUSE OF WAX, and in INFERNO. But while Hitchcock's and Price's films are well remembered (and seen frequently), INFERNO has been generally ignored.It stars Robert Ryan, Rhonda Fleming, William Lundigan, Larry Keating, and Henry Hull. Ryan begins the film in one of his typically negative characterizations - a millionaire married to Fleming who treats everyone around him as a servant to do his bidding. Sort of like a follow up to his Smith Ohlrig in CAUGHT, only with a new bride. He is going on vacation, and he is accompanied by his wife and a guide played by Lundigan. But Fleming and Lundigan are having a love affair, and when Ryan is injured they realize that they can get rid of him, collect his fortune, and then marry. They leave the obnoxious millionaire in the desert with just a six shooter and a canteen with water. He also has a broken leg. They figure they can report he wandered off, they could not trace him, and in a week the police can find his corpse.Ryan fools them. Always intelligent in his roles, he growls as soon as he is alone, "They think I'll drink up all my water!" He starts an enforced rationing. He also makes a crutch. Finally he shows his patience in becoming a careful hunter - carefully using his gun to kill game only when it is available. Soon he is able to start following the stars to get back to civilization. And his disappearance is not being casually dismissed by the discovery of his body by the authorities led by Carl Betz. And Fleming and Lundigan are beginning to get nervous - and a bit less lovey-dovey with each other.But the best part of this film, aside from the careful script and performances, was director Roy Baker's brilliant use of 3-D. He wanted the size of that desert Ryan is marooned in to be really evident to the audience, and his shots of the miles of mesas and sand are deeply impressive. It adds to one's realization of just what Ryan is up against to survive. Actually it was the best use of the process in Hollywood movies, and it makes one regret that John Ford did not think of using the process in say THE SEARCHERS or TWO RODE TOGETHER. Ford's use of "Monument Valley" was always brilliant - imagine if it too had been in 3-D.