The 1953 3D survival adventure, *Inferno*, isn’t the first title that comes to mind when you think of classic film noir. It’s a color movie, bathed in sunlight, about a man struggling to stay alive in the desert after being abandoned by his young and alluring wife and a business partner who betrayed him. We see Donald Whitley Carson III sitting behind a rock, the desert sun beating down on his skin. However, he's not dwelling on that discomfort; instead, he has his revolver braced against a stick, focused on a small, scrawny rabbit. He momentarily forgets about revenge and concentrates solely on finding something to eat—he’s been without food for quite some time. With careful precision, he pulls the trigger. The rabbit escapes, but it's clearly wounded. Carson struggles to his feet, hampered by a homemade splint on one leg, driven forward by hunger. Around a bend, he discovers his quarry being devoured by a coyote as it runs off. Robert Ryan portrays Carson, delivering what is arguably one of his most distinctive performances and succeeding admirably. But does it qualify as noir? Examining the narrative reveals why it fits the genre. As Eddie Muller recently observed, it’s essentially “The Postman Always Rings Twice” played in reverse. It took Eddie, a leading authority on noir and host of Noir Alley on Turner Classic Movies, just a few words to capture the film's essence. *Inferno* recounts the story of a young couple who decide, during a brief and passionate affair, to murder the woman’s older husband. And Muller is correct; it’s a noir tale told from the perspective of the victim, unlike *The Postman*, which focuses on the killers like Lana Turner and John Garfield. In this film, Robert Ryan's character proves he's not someone you want to cross. He’s considered one of the genre’s greats thanks to films such as *The Set-Up*, *Crossfire*, and *Odds Against Tomorrow*. Here, Ryan embodies a wealthy, seemingly helpless man who must survive in the desert after being left behind by his wife and her lover—an affair that began only three days prior. Along the way, this unlikeable character undergoes a transformation, becoming a better person. It might sound cliché, but Ryan earns the audience’s respect as he gradually shifts his focus from revenge to simply surviving. Rhonda Fleming plays his wife, and she is visually striking. I recall first seeing this movie at The Film Forum in New York after spending years immersed in black-and-white crime films. Experiencing “The Queen of Technicolor”—in 3D no less—was a remarkable sight; her red hair was an incredibly vibrant color, and she’s dressed in the most flattering and colorful outfits imaginable. She dominates every scene she's in. Director Roy Ward Baker, who would later work on horror films for Hammer Studios, skillfully intercuts between Ryan, weathered and injured, enduring the desert heat, and the couple enjoying their lavish lifestyle. If you don't feel hungry and thirsty while watching this film, you weren’t paying close attention. The 3D effects are primarily used to emphasize Ryan’s isolation and helplessness in the desert. While it does incorporate some of the typical gimmicky 3D visuals from that era, they are thankfully saved for near the end when burning embers from an elderly man's home fall into the audience's laps. Henry Hull—known as “The Werewolf of London”—plays this older character. *Inferno* is finally receiving a high-quality DVD release and includes several bonus features. Be sure to purchase the new edition from Twilight Time, which is presented in 3D – an effect that enhances what’s already a strong and compelling story. Film historian Alan Rode provides commentary, and his contributions are consistently entertaining. Although *Inferno* is bright and colorful, it remains a film noir.

Source on TMDB