Brief and very much to the point, Inferno is a grim, fascinating tale of survival. Breaking his leg on a vacation trip, millionaire Carson (Robert Ryan) is left in the middle of the desert by his wife Geraldine (Rhonda Fleming) and his business partner Joseph Duncan (William Lundigan). Ostensibly, they have driven off to seek medical aid for Carson; in fact, they intend to leave him in the desert to die of thirst and exposure. When the truth of his dilemma is made clear, Carson vows to live long enough to exact revenge against his wife and partner. Virtually a one-man show for the most part, Inferno maintains its level of taut suspense from start to finish — and what a finish. The first 3D effort from 20th Century-Fox, Inferno was remade for television in 1973 as Ordeal, with Arthur Hill in the Robert Ryan part and Diana Muldaur and James Stacy as his would-be murderers.
Roy Ward Baker (born 19 December, 1916) is an English film director born in London. His best known film is A Night to Remember (1958) which won a Golden Globe for best foreign English language film in 1959. His later career included many horror films and television shows.
From 1934 to 1939, Baker was with Gainsborough Pictures, a British film production company based in Islington, North London. His first jobs were menial, making tea for crew members, for example, but by 1938 he had risen to the level of as assistant director on Alfred Hitchcock’s The Lady Vanishes (1938).
He served in the Army during World War II, until transferring to the Army Kinematograph Unit in 1943 in order to make better use of skills developed in his pre-war career producing documentaries and teaching materials for troops. One of his superiors at the time was novelist Eric Ambler, who gave Baker his first big break directing The October Man, from an Ambler screenplay, in 1947. Ambler also adapted… read more
Frequently hilarious (almost every character is an asshole) and rigorously detailed camping disaster picture. Good use of 3D alongside a terrific performance (standard-issue) by Ryan, perilously swinging between self-hatred and jilted rage as he tries to claw his way out of the desert.
An appreciation of the great American actor Robert Ryan on the occasion of a New York retrospective.
"It's all over when the real artists get involved in it," grinned a critic of my acquaintance—a fellow not generally known as an optimist about