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Plot:

Despite their different social class Ruby and Boake grew up together in the 1950s North Carolina. Ruby Corey lived with her poor family in the swamps while Boake Tackman lived in a mansion with servants. As long as their friendship stayed within the socially acceptable limits no one objected. In adulthood their friendship becomes a mutual romantic attraction. Ruby wants to marry Boake but he only seems interested in romantic play without commitment. Maybe conscious of his social status or maybe being afraid to offend his snobbish family and conservative hometown folk, he marries a rich girl. Out of revenge Ruby marries Jim Gentry, a recently widowed rich old man to whom many townsfolk and local businesses owe money. When Gentry dies in an accident, the town blames Ruby. A now rich Ruby takes revenge on the town’s folk by calling in their debts and loans. The girl from the swamps has become the town’s biggest nightmare.

Also Known As: A Fúria do Desejo, Ruby, pigen fra sumpen, La furia del deseo, Pathos kai prodosia, La furie du désir, Syntinen Ruby, Wildes Blut, Ruby fiore selvaggio, Руби Джентри Soviet, Pasión bajo la niebla, Ruby, Vilt blod, Ruby Gentry, Wildes Blut West, Kazâ kursunu, Fúria do Desejo, En kvinnas lidelse, Kolasmenoi pothoi, Liefdedrift

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  • dr-adelbert-klemm
    dr adelbert klemm

    “Ruby Gentry” (1952) is an intense melodrama about a love-hate relationship, obsessive love, social class injustice, and revenge. Ruby (Jennifer Jones) is a sultry young woman who lives near a swamp in the small town of Braddock, North Carolina. She has black hair and a porcelain complexion. Her hourglass figure looks great in jeans and shirt. Most of the men in town desire her.Ruby is rejected by the townspeople because she is poor and from the wrong side of the tracks. She also intimidates people with her beauty, wild spirit and strong will. The tempestuous beauty is a hellcat one minute, and sweet the next. She endures many put-downs from the snobby townspeople. As the film progresses, Ruby changes from a wild-spirited but basically good person into a cold, powerful woman who takes vindictive revenge on the town.Ruby is obsessed with Boake Tackman (Charlton Heston), a handsome rogue from a local aristocratic family that became impoverished. They have a love-hate relationship, with a lot of passion and fighting. In one scene, Ruby the hellcat scratches Boake’s face, but he doesn’t seem to mind. However, Boake is driven by his ambition to restore his family’s fortune by turning his land into a productive farm. He marries a local socialite, and then suggests that Ruby become his mistress. Ruby is insulted and angry.Jim Gentry (Karl Malden), a local rich man, pursues Ruby, and she marries him. Now she is “Ruby Gentry.” (“Gentry” means upper class. A ruby is a gemstone symbolizing love and passion.) Jim is a kind and decent person, and Ruby truly loves him. However, at a party, Ruby’s obsession with Boake leads her into a romantic encounter with him. (In this scene, she is wearing a beautiful chiffon ball gown, in the symbolic color of black.) Jim is at first outraged, but he loves Ruby so much that he forgives her completely.Jim tragically dies in a boat accident, and the angry townspeople falsely accuse Ruby of murdering him for his money. The nonstop noise of car horns blaring is nerve-wracking. Ruby is frightened by the torment of the townspeople.Ruby is now a rich, powerful woman, wearing elegant black dresses, hats and sunglasses. She takes revenge by foreclosing on numerous local companies, leaving behind many ruined businesses.However, Ruby still obsessively loves Boake, and offers to cancel his loan. Boake scorns Ruby, and she retaliates by flooding his farm with swamp water. Boake sadly watches as his small crops die in the flooded land. Ruby has coldly destroyed his dream.There is a creepy scene which strongly implies that Boake essentially rapes Ruby. Boake is angry, dangerous and anguished over his destroyed farm.The last part of the film takes place in the hellish swamp, where Ruby and Boake are chased by a madman through the muddy water. They eventually reconcile in a bittersweet scene.The ending is sad and moody. Ruby regrets her vindictive actions and seeks atonement. She becomes the captain of a small fishing boat, and lives as a recluse. Ruby looks like a thin man, wearing a man’s uniform. She has lost her alluring glamor. The most beautiful woman in town is now an androgynous recluse.The sets and costumes are lavish. Jim Gentry’s mansion contrasts with the wooden cabins in the swamp area. The swamp is eerie, filled with mist, twisted dark branches, and muddy water. The acting is excellent. Jennifer Jones looks beautiful in all of her outfits, including jeans, a white satin gown, a black chiffon ball gown, and a black dress with a black hat.This movie has interesting themes of obsessive love, ambition, a strange love-hate relationship, social class prejudice, revenge, women and power. I highly recommend this film.

  • gorshkov-vladlen-glebovich
    gorshkov vladlen glebovich

    Although the late Jennifer Jones excelled at portraying sweet and benevolent ladies on screen (Sister Bernadette in “The Song of Bernadette,” Jane Hilton, the epitomized all-American girl, in “Since You Went Away,” the ghostly and angelic Jennie Appleton in “Portrait of Jennie,” the perfect schoolmarm in “Good Morning, Miss Dove,” for example), as her millions of fans all know, she also specialized in playing lustful, self-willed and oftentimes tempestuous women. 1946’s “Duel in the Sun,” with Jennifer as the hot-blooded Pearl Chavez, is a perfect example of that type, but a look at “Ruby Gentry,” made six years later by the same director, King Vidor, shows that Jones could be just as effective in a much smaller picture, playing a similar role. “Duel” was mockingly referred to as “Lust in the Dust,” and I suppose one could give “Ruby” the tagline “Romp in the Swamp.” In this one, she starts out as Ruby Corey, born on “the wrong side of the tracks” (a so-called “swamp trotter”) in the modern-day, fictitious town of Braddock, N.C. Although desperately in love with well-to-do Boake Tackman (played by Charlton Heston in one of his earlier roles), she marries the wealthiest man in town, Jim Gentry (the always marvelous Karl Malden), on the spiteful rebound. A marital tragedy strengthens Ruby’s resolve to avenge herself on both the snobbish townspeople and on Boake himself, leading, “Duel in the Sun” style, to even more tragedy down the line. Jennifer, it must be said, is simply marvelous here; her poor-white Southern accent doesn’t slip once and her chemistry with Heston is a thing to behold. The film also features atmospheric direction by Vidor and a lovely, memorable score by Heinz Roemheld. In all, a quality production, and yet another victory for the great Jennifer Jones.

  • aleksandra-egorov
    aleksandra egorov

    “Ruby Gentry” strongly reminds me of the fantastic “Duel in the Sun”, but sadly it is photographed in black and white. Normally I prefer Black and White – like in the most Film noirs – but in this case color would have made the whole film better. It has a very good dramatic plot – a “Southern drama” with all the typical story elements (poor girl, rich guy, unfulfilled love, class consciousness, pride, the poor girl marrying a nice and rich old man instead of the desired guy, bad fate with the good old man dying in an accident, revenge and so on). It really could have been a fantastic picture especially with the very good cast – but something is missing. I guess it’s the epic camera shots like in “Duel in the sun”. In “Ruby Gentry” you don’t see much of the landscape – just a few shots in the Everglades. I think the movie is clearly too short – I miss scenes which show some important motives of the main characters visualized instead of only spoken in the dialog. To better understand why Charlton leaves his girl alone and marries another one I’d have preferred seeing a scene showing him on a dune watching over his land and showing his sparkling eyes or something like that. But although the movie is worth watching it.

  • akhilleia-koutsourele
    akhilleia koutsourele

    Watch this one with a friend so you’ll have someone to laugh with. Jennifer Jones and Charlton Heston bring their over-acting talents to new heights in this fun melodrama. Watch how he violently drags her into his arms and the two disproportionate faces, his gigantic forehead and her softball size cheekbones almost fit together. Listen to his forced gravel of passion and her snarling lisp. Watch them face each other with the same odd posture of caved in waists and flat behinds. See them try to walk across a room without knocking anything over, shoulders swinging and arms flinging as they go.I would like to think this film would have been better with more subtle actors but even the story lacked credibility. We are told repeatedly that the town didn’t like Ruby because she was born on the wrong side of the tracks, but I think her blatant public flirting and major anger issues might have had a lot to do with it.

  • sakip-tanir-ihsanoglu-zorlu
    sakip tanir ihsanoglu zorlu

    The only reason I rented “Ruby Gentry” in the first place was because the almighty Charlton Heston was in it, but not even he could save it. I got a little suspicious when I saw Jennifer Jones’ name in the opening credits. After seeing her awful performance in “Duel In The Sun (1946)” just a few days earlier, I can honestly say she is not one of my favorite actresses, that’s for sure. Her portrayal of a Mexican was the most unconvincing I’ve seen, apart from… well, Charlton Heston in “Touch Of Evil (1958)”. Sorry Charlton, but you could never be a believable Mexican. Not even with a little moustache.Anyway, “Ruby Gentry” reminded me a lot of “Gone With The Wind (1939)” for some reason. It’s about a woman (Jones) marrying a man (Karl Malden) instead of the bloke she truly loves (Heston). I don’t want to spoil it for anyone, so let’s just say the movie is not nearly as good as the story and the cast might suggest. Let’s go through the flaws, shall we?Firstly, there’s Jennifer Jones. Not a very good performance. Second, Charlton Heston’s role. Letting him play such a one-tracked character is an insult to the greatest actor of all time. I don’t understand how he could choose to do this movie. I don’t know. He never gets a chance to prove his might, Heston comes off much better when he plays a more three-dimensional character, like he did in for example “Ben Hur (1959)”. Finally, there’s the finale. It’s so boring and conventional I don’t even want to talk about it.Karl Malden, however, does an excellent job, but that doesn’t help much. All in all, a movie that had great potential and a promising cast, but I’m afraid they screwed it up big time.

  • ambrosia-topale
    ambrosia topale

    …in romantic pairings .Their love/hate relationship compares favorably with the one depicted in “duel in the sun” which featured Jones too.This actress epitomizes romantic passion ,and no one equaled her in this field (as a French I can tell she was the best Madame Bovary I had ever seen).Ruby was born on the wrong side ,that’s what we are told at the very beginning of this story of sound and fury.In the Vidor family,she is akin to Pearl in “duel in the sun” ,to “Stella Dallas” and even to Rosa in “beyond the forest”.Like Rosa ,she dreams of the social ladder but unlike her,she can love and it’s her downfall.Raised in a family with a fanatical brother who brandishes his Bible like a gun,she will never be able to get out of the swamp ,even with all the money in the world “You can’t buy your way out of the swamp”.Even when she uses it to destroy everything and all her fellow men’s lives,she can still hear this pump ,which is like a beating heart.The movie is actually a long flashback ,which reinforces what the first lines are saying: Ruby was not born in the right place at the right time.

  • agris-krumins
    agris krumins

    This film has Oscar winners, Jennifer Jones, Charlton Heston, and Karl Malden in an unusual love triangle. Jennifer Jones plays Ruby, the girl from the wrong side of the tracks who can play with the men. She’s in love with Heston’s character but he can’t marry her because of the scandal. But it doesn’t mean that he doesn’t lust after her. As a girl, she went to Mr. Gentry’s home for a couple of years. Years later, Gentry (played by Karl Malden) invites her to help care for his sick wife played by Josephine Hutchinson. When she dies, he offers a proposal of marriage to Ruby. In the small town of Braddock, North Carolina, Ruby’s marriage to beloved Gentry doesn’t sit too well with the country club. Anyway, Heston’s character is still pining for Ruby. I have to say that I liked Jennifer Jones in this role as Ruby Gentry. She allowed her to develop into a complex character than just a cardboard cut-up of the studio system.

  • catherine-jenkins
    catherine jenkins

    Jennifer Jones is so big in this film she makes Charlton Heston appear to be underacting – no mean feat! Nonetheless she’s a fascinating actress to watch, and the whole film is fresh. Does it seem like “real life” North Carolina? No, but I don’t really think it matters. It’s an effective, entertaining melodrama that was a big hit in its day.Ruby Gentry was filmed on location (mostly in rural California), and what a nice, uncomplicated, outdoor feeling the film has. It’s not studio-bound at all, even when the occasional use of process photography is obvious. Who could ever forget that amazing love scene played in the convertible careening down the beach, for example? You can almost feel the fresh sea air and smell the salt water. Heston and Jones, in this and other steamy scenes (at least for the time) make a surprisingly effective team.Photographed in real light, Jennifer Jones looks just about five years too old for the part; she seems to compensate by overdoing the tomboy aspects, strutting about and speaking too loudly to people standing three feet away from her. Playing a tramp-ish character, a girl from the wrong side of the tracks, she’s hardly as naturally sultry or sexy as, say, Ava Gardner. She works at it, and works a bit too hard, at times. A scene in which she pours coffee for a group of horny guys, where all she has to do is stand there looking good, is played with so many varied facial tics and expressions. She can’t throw away a scene, or a moment.Yet her performance is appropriate to the character and the film. She commands the screen and is never boring for a second. What’s great about Jennifer Jones is her incredible sensitivity, so that when Ruby is slighted by the people of her town for her low social status, despite (and because of) her marriage to Karl Malden’s wealthy character, her hurt and rage are palpable. She really lives the part. And this drives the film. She has a great deal of life on the screen.Charlton Heston is great. Looser than usual, calling his girl, “baby.” He doesn’t seem to rely as much on his mellifluous voice this time. He plays a regular American guy. It’s a shame he didn’t get to demonstrate the casual quality of his Boake Teckman, here, in other roles. But I guess when you play Moses and Michelangelo you don’t get that much of an opportunity.Karl Malden was still pretty new to moviegoers at this time but he became very popular, very fast, after his Oscar winning role in Streetcar. In many ways he’s always reminded me of Spencer Tracy with his sharp yet warm, human portrayals. Unfortunately he didn’t have Tracy’s good looks and wasn’t in line for leading man parts. But that didn’t stop him from becoming a top star. He blends into his part expertly and makes us forget he’s acting. He just seems to be Jim Gentry.The brilliant director King Vidor went through a long melodramatic period and it was most enjoyable. Ruby Gentry was a highlight.The score (for harmonica and orchestra) is one of the most memorable things about the film, the theme music became a big hit called “Ruby.”

  • johannes-holst
    johannes holst

    Once again, JENNIFER JONES has problems while stirring up raging hormones in every man within sight, even when she’s married to a respectable but boring middle-aged man (KARL MALDEN), because they all know she’s still lusting after the man who got away (CHARLTON HESTON).This is such over-baked, melodramatic corn that you can almost visualize it better as a silent film with tacky sub-titles while a woman with heaving bosom goes to pieces over a man she can’t have because she is considered by the townsfolk to be an unworthy tramp and beneath the station of a well-to-do aristocrat.But the soundtrack isn’t silent and does produce a haunting melody, “The Theme from Ruby Genty” which was very popular at the time of the film’s release. That and the pulp fiction quality of the film, directed in over-the-top manner by King Vidor, gave it a camp quality that had people comparing it to “Duel in the Sun”.It’s strictly a minor melodrama with an overwrought Jennifer doing another interpretation similar to her Pearl Chavez.

  • tapio-hiltunen
    tapio hiltunen

    With this I’ve started my tribute to Charlton Heston – being also one of six planned first viewings. The film isn’t one of his most renowned efforts (coming also very early in his career), in spite of director Vidor’s involvement; nonetheless, it’s typical of the latter (whose twilight years were marked by a mostly lean period in his career) – a fairly risible romantic melodrama of the kind D.W. Griffith was making forty years earlier and which were concurrently being revitalized in the works of Tennessee Williams! RUBY GENTRY actually looks back to an earlier Vidor title involving a forbidden liaison sparking notoriety, death and revenge – DUEL IN THE SUN (1946), with which it shares leading lady Jennifer Jones – but, at least, that one was backed by Technicolor, an epic scope and a willing all-star cast; this, on the other hand, is unconvincing and rather half-hearted – though leading to a similarly absurd climax (with Heston and Jones attacked by the latter’s religious fanatic brother).Following the death of his invalid wife (Josephine Hutchinson), meek but wealthy Karl Malden (who comes off best out of the main trio of stars) allows himself to be hitched by the tomboyish and backwoods Jones; the latter had herself been spurned by well-bred Heston, who prefers to marry into money for the sake of his dream project. However, the two lovers can’t stay apart for long and the two men have a big fight over her at a party (which, curiously enough, takes place off-screen). The newlyweds set out to sea the next day in order to make up, but he’s thrown overboard in an accident and drowns; the locals give Jones the cold shoulder (again, much of their abuse is intimated rather than shown), but she finds herself all of a sudden the beneficiary of Malden’s vast fortune (owning shares in or else being owed by, it seems, the majority of the townspeople!); the last straw arrives when she willfully destroys Heston’s irrigation enterprise. Ultimately, as I’ve said before, the film is shamelessly overstated – but, alas, not particularly entertaining: while the talent is clearly there, it’s generally operating below-par.

  • jet-beekman
    jet beekman

    Wow, what a trashy movie! This is NOT necessarily meant as a criticism, as the film makers were obviously trying to make an overwrought and sexy soap opera-style film. Subtle this is not–and if you like films like PEYTON PLACE or A DUEL IN THE SUN or TV shows such as “Dynasty” or “Falcon Crest”, then you may enjoy RUBY GENTRY.Ruby (Jennifer Jones) is a sexy southern girl from the wrong side of the tracks. She’s in love with one man (Charlton Heston) but her heart is broken when he marries another simply because this other woman offers him an advancement in society. On the rebound, Ruby marries a nice and very wealthy guy (Karl Malden). However, at a big social event, Ruby shows a lot of attention to her old beau and people begin to talk. Now Ruby did NOT cheat on her husband and there is no indication that she didn’t care for him–but people talk. And, when the husband dies accidentally in a boating accident, people suspect Ruby killed him. In fact, they are vicious towards her. So, in a wonderful turn of events, the now wealthy Ruby sets out to use her husband’s money to destroy the town. Later, she works her best to try to win back her old beau–even though he is already married and seemed like a jerk.I am not sure why Miss Jones did these sort of movies. Despite becoming famous for playing the angelic lead in SONG OF BERNADETTE, she went on to play quite a few slutty characters–such as in this film, DUEL IN THE SUN, INDISCRETION and MADAM BOVARY. Frankly, I didn’t like her in these films and preferred her other roles–mostly because she wasn’t all that convincing in these sort of films. RUBY GENTRY is a bit better than these other films, but it still is far from her best work. I think part of this is just because she just didn’t seem slutty enough and seemed more suited to films such as PORTRAIT OF JENNY. She looked rather sweet and such roles would have worked better with actresses who specialized in these sort of films like Lana Turner or Joan Crawford. The other problem is that although I enjoy a good potboiler, these films of Miss Jones weren’t particularly good films–especially DUEL IN THE SUN and INDISCRETION. Why her lover, David O. Selznick, pushed her into these roles is beyond me.Despite these complaints, there was quite a bit to like about RUBY GENTRY. The idea of a poor girl becoming rich and using this new wealth to destroy the town that persecuted her is great. Too bad, then, that after doing so much to get revenge that the film become bogged down with the silly affair with Heston late in the film. The affair made little sense and tended to deflate the juicy plot. And, sadly, almost as soon as the affair began, the film just ended very abruptly! The film is a real mixed bag. It’s a decent time-passer soap but could have been so much more.

  • mara-draaisma
    mara draaisma

    Inescapably wholesome Jennifer Jones tries once again to get low-down and trampy in this strange melodrama–it doesn’t have the trashy splendor of her previous camp classic “Duel in the Sun”, but the comparative restraint of “Ruby Gentry” somehow makes it seem even more absurd. Jones is supposed to be the daughter of a family of swamp-dwellers, but her hair, makeup, and costumes remain flawless from beginning to end–her idea of “backwoods tramp” is somewhere between Helen Hayes and Doris Day. She’s caught in a doomed romance with rake Charlon Heston (just like the one with Gregory Peck in “Duel”, although Heston is slightly more convincing)–the two of them spend their scenes twisting their bodies into increasingly distorted positions, mashing their mouths together, clawing at each other’s hair, etc. Jones’ fundamentalist brother occasionally blathers on at her about her “unforgivable sins”, although the unforgivable career damage is not mentioned; the romance abruptly ends in an extended shootout scene in that pure-Hollywood “swamp”. All of this happens because Ruby was “born on the wrong side of the tracks” (an offscreen narrator reminds us of this fact about seven hundred times). Next time, move the tracks.

  • terry-morgan
    terry morgan

    Jennifer Jones plays a feisty tomboy with a sadistic streak who’s in love with young masochistic Charlton Heston and will do anything to have him – or to reject and ruin him at varying times, it seems – in this slight and silly offering from director King Vidor. What Heston’s character sees in this nut-job Ruby is any viewer’s guess. Jones and Heston aren’t bad, and Karl Malden is also a welcome asset to the cast in a supporting role. The ending is interesting amidst a well-photographed swamp background. But overall this is a dressed up and rather tacky melodrama that’s much better directed than it probably had any right to be. ** out of ****

  • crystal-sanchez
    crystal sanchez

    A drama set in a small town in North Carolina that doggedly holds on to the strict social division between the classes, all the more so given the fact that powerful post war 20th century economic forces are changing everyone’s fortunes, and now the old money (what’s left of it) can only grasp onto the past in order to maintain their weakened grip on their obsolete social hierarchy. To threaten the social order more is saucy Jennifer Jones, who all the upper class guys lust after, a woman from the wrong side of the tracks with a born again brother (James Anderson) who throughout the film reminds her that her soul is doomed to eternal damnation as she tempts and pleases Charlton Heston, who’s upper class family has only their good name left, and who is promised to only moderately attractive and far less sexy Tracy McCauliff (Phyllis Avery) who’s family is still rich AND respected. It’s quite a trade off. The best scene comes after Heston and Avery marry and are at the local country club for a dance, and Heston and Jones dance provocatively while Jone’s husband, the rich and jealous Karl Malden, who she decided to marry after she lost out on Heston,can’t believe that this is happening to him. The film falters somewhat as it lurches towards the end, but pacing wise and photographically (B&W by the great Russel Harlan) it’s definitely worth checking out.

  • dr-revza-demir-mansiz
    dr revza demir mansiz

    “Ruby Gentry” is Charlton Heston’s only sexy movie. It helped to have Jennifer Jones in it. The movie is about a poor girl from the South marrying a rich man when her boyfriend marries a wealthy woman. It is a good short movie. Some of the scenes get carried away, but the movie is still fun to watch. Karl Malden plays the older husband, who in reality is only a few years older than Ms. Jones, however, it works.The song “Ruby on my Mind” helps make the movie more sensual. This was the director’s (King Vidor) second movie with Ms. Jones and he makes this movie move like he did with the long movie, “Duel in the Sun” (1946).

  • zachary-phillips
    zachary phillips

    This is the story of Ruby Gentry, as it is told by the town’s doctor. Ruby Gentry was born in the wrong side of the town, she never considered herself a lady, and so nobody else did so. When Boake Tackman returns from North America to his hometown, Ruby Gentry believes that their old passion will keep her dreams alive, and that she will finally win his heart. But Boake (Charlton Heston) betrays her love,and marries a wealthy towngirl. Now Ruby marries Jim Gentry, played excellent by Kard Malden, the richest person in the town, but after some months he dies and the whole town turns against her, believing that she has caused his death. Ruby tries to revenge above all, Boake, but with the help of her fanatic christian brother tragedy comes and Ruby looses everything that she wanted.Jennifer Jones had a big success with this movie, after 5 box-office flops. Its is a well known story, directed very good by Charles Vidor, and supported excellent by Karl Malden. Charlton Heston show the kind of acting that will follow for the rest of his career,and comes out rather convincing.A good film you would like to see again…(but not a masterpiece)

  • ludovica-nistor
    ludovica nistor

    King Vidor’s head-on approach to melodrama seems to be out of fashion these days when critics are more comfortable with the self-conscious ironies of Douglas Sirk. Ruby Gentry is the last and, along with Stella Dallas, the best of his “women’s pictures”, a taut, almost abstract depiction of a woman’s ultimately self-destructive attempt to live without restraints. The object of all men’s desire, she tries to turn the tables on Charlton Heston by becoming the aggressor (in their first scene together shining her flashlight on him while she remains invisible, making him the passive object of her teasing erotic gaze). Caught between the fire-and-brimstone brother out of Flannery O’Connor and the discreet condemnation of the bourgeoisie she marries into, Ruby lashes out, taking them all (even Heston) down with her and ends up cast adrift on the sea, as inscrutable as Dreyer’s Gertrud.

  • william-barker
    william barker

    I saw this when I was very young and it was quite risqué for 1952. Jennifer was beautiful and very seductive. The thought of a woman being shown on the screen engaged in seduction was far from the norm for my family. I went with my friend and was afraid to tell my Mother. I need to rent this and see if it still holds up after all this time. I’m sure Jennifer will as she was a wonderful actress. I love Charlton Heston because is a journeyman actor but he bugs me. He always seems to be the same person. Karl Malden is an actors actor and never gives a bad performance. The setting was typical of that time, poor girl seduces rich boy. The other one was rich girl falls for poor boy. Sure never happened in my life. What I remember most though was the music as It is so plaintive.. I have it downloaded and it is one of my favorites.

  • sr-danilo-farias
    sr danilo farias

    In Braddock, North Caroline, the free-spirited and poor Ruby Corey (Jennifer Jones) is a sexy woman in love with Boake Tackman (Charlton Heston), who belongs to a former wealthy family that lost their land that is flooded. Ruby has lived during high-school with the wealthy businessman Jim Gentry (Karl Malden) and his wife Letitia Gentry (Josephine Hutchinson) that had unsuccessfully tried to teach etiquette to Ruby. Later she returned to the house of her father Jud Corey (Tom Tully) and her pious brother Jewel Corey (James Anderson) in the swamps. When Boake decides to marry the rich Tracy McAuliffe (Phyllis Avery), Ruby is courted by Dr. Saul Manfred (Bernard Phillips) but accepts to marry Jim that has recently widowed. The population of Braddock does not accept the marriage of Ruby and Jim. Then, Ruby dances with Boake in a club and Jim has a fistfight with Boake and calls Ruby a tramp. On the next morning, Jim apologizes with Ruby and they go sailing. However there is an accident and Jim drowns in the sea. Ruby is accused by the population of murdering Jim and she decides to revenge, using the money she inherited from Jim and foreclosing on the debts of the hometowns. But Ruby is still in love with Boake and her behavior will lead them to a tragedy.”Ruby Gentry” is a melodramatic romance directed by King Vidor, the master of this genre. The melodrama is excessive, with a wild young woman in love with a popular young man in a conservative town. Her revenge against those that blame her is great but the conclusion is silly. Rubby working as a skipper of a fishing boat does not make sense for a woman with her strong personality (and money). My vote is six.Title (Brazil): “A Fúria do Desejo” (“The Fury of the Desire”)

  • eric-lindsey
    eric lindsey

    This hormone driven drama should have provided fodder for a good prime time soap opera the way Joan Crawford’s Flamingo Road was later turned into one for television. The characters and plot line are right up there with Dallas and Falcon Crest.Jennifer Jones is driving all the men crazy here. First we have Charlton Heston who’s the scion of the town’s leading family. Good bloodlines, but a cash flow problem. He just wants a roll in the hay with her bad, but marry her and soil the family name, heaven forfend. Then we have Karl Malden, the town’s richest man who stayed faithful to and invalid wife, but who also lusts for Jennifer and then marries her before the wife’s body is cold. And we can’t forget the Yankee doctor who comes to this North Carolina town and takes one look at Jennifer Jones in a tight blouse and he’s hooked. Bernard Phillips who plays the doctor is the narrator and it’s his eyes from which we see the action unfold. And we can’t forget Jennifer’s brother James Anderson, a wild religious fanatic who is constantly warning her about the wages of her sins, but there’s more than a little hint of some incest he’d like to engage in.Charlton Heston said in his memoirs that he enjoyed working with Jennifer Jones, Karl Malden and the rest of the cast, but David O. Selznick, Jen’s husband and svengali was one royal pain.The movie is trash, it don’t pretend to be anything else, but it made a mint at the box office. If you liked Dallas, Falcon Crest, Dynasty, etc., you’ll love Ruby Gentry.

  • liza-vilks
    liza vilks

    Charlton Heston is at the height of his hunk stage and played an unusual type, against his rugged, frontier persona. Jennifer Jones is sultry and moody through several decades, backed by the haunting “Ruby” theme. Richard Hyman’s harmonica is a perfect compliment to the two lead character types. I think it is even more effective in black and white than it could ever have been in color. Perhaps this element underscores the black and white social mores of the era. This movie is the first to really make me believe Jennifer Jones character is principally an emotionally grounded person, touchable by others. I usually find her too self contained to feel deeply. I have seen this movie several times, and thoroughly appreciate it each time.

  • joanna-peters
    joanna peters

    The turbulent life of a female sea captain is revealed. Jennifer Jones does quite well in the meaty leading role of Ruby, a swamp girl from the Carolinas who infiltrates an indifferent high society after marrying wealthy businessman Karl Malden. However, that marriage was just a convenience for this hellcat, who has pined her whole life for intrigued childhood hunting pal Charlton Heston, himself a recent newlywed to a girl who hails from the right side of the tracks. Silvia Richards’ screenplay, which originated from a story by Arthur Fitz-Richard, is alarmingly direct, cutting right to the action despite a few well-placed flashbacks. Still, the narrative is somewhat confused (who’s telling this story? If it’s supposed to be Bernard Phillips’ smitten doctor, he isn’t around a whole lot). Jones sidesteps camp (just barely) with some enjoyably wild behavior in the film’s second-half, and yet this portion of the movie doesn’t quite fit comfortably alongside the rest–it plays almost like an unrelated episode. Director and co-producer King Vidor’s strongest work comes in the earliest sequences, which have a well-wrought sense of character and pacing which the finale tends to lack. **1/2 from ****

  • jonathan-walker
    jonathan walker

    It’s no big surprise that RUBY GENTRY receives such mixed reviews, because the theme of the film will not appeal to small-town America. Ruby is a girl from the wrong side of the tracks, as the narrator at the beginning of the film states. What this is code for in classic Hollywood is not necessarily straight translation. In other words, we are in the realm of a lost art form: the romantic film, or the melodrama. King Vidor was a master of this craft.Ruby, then, was different. She was a free spirit, an unconventional thinker, and a seductive beauty. This is a lethal combination in the small, conservative town Ruby grows up in. She falls in love, of course, with the ‘popular’ boy, the rich kid, who the most well-bred society girls are after. Of course none of them have anything except their money against Ruby, and Boake (Charlton Heston) knows it! So there is an essential conflict between what Boake wants (Ruby) and what he is expected to have. He, unlike Ruby, is rather weak, and afraid. Deep down he loves her, but he lacks her spirit and wisdom. He won’t go after someone looked down on by the town. He has to be ‘respectable.’ He cares what others think. Ruby does not, so she is willing to fight for him, but at the same time she does not want to be taken for granted. She wants her love to be fulfilled through marriage; he only wants her as a sex object.I think it is important to note that Ruby Gentry is not necessarily a femme fatale, nor does she necessarily sin. She simply follows her heart. However, a series of accidents, including the death of her wealthy husband, occur, and Ruby is involved in scandal after scandal. The people always choose to believe the worst of her because she represents what they despise: an independent woman with beauty and natural intelligence, and class mobility.RUBY GENTRY is a masterpiece. King vidor, my favorite director, is at the top of his form. Jennifer Jones, a talented and underrated actress, makes Ruby both sympathetic and believable. Charlton Heston is extremely effective as a complex character–one who on the surface seems shallow, but beneath the surface you can still feel his love for Ruby (which he struggles to hide, or deny).Boake and his family feel they are above Ruby. Even Ruby’s brother is judgmental and calls her a ‘sinner,’ based on assumptions. The final event in the film is a tragedy, but noteworthy because it was not the fault of Ruby or Boake, but a judgmental, hypocritical, and merciless society, imposing religious and social institutions which hinder us all.The film is not dated. If anything, it proves melodrama is more effective than realism sometimes, where larger-than-life human emotions are concerned. People who call a movie like RUBY GENTRY ‘trash’ are actually in denial that the theme, and the emotions, are as vividly real and relevant now as ever. Anyone who thinks social class, sex appeal, and money do not count for everything in today’s world, just as then, hasn’t a clue. These are timeless themes, and the relationships in the film, and how they were negatively affected by the prejudice and snobbery around them, can be compared to any number of contemporary homosexual or interracial relationships, among others. How’s that for relevance? Sometimes the bigger emotions, the tragedies, are more appropriately told in melodramatic terms–because they are serious and heartbreaking and should not be reduced to cinematic language that conveys anything less!

  • philip-caldwell
    philip caldwell

    Jennifer Jones certainly did not get type cast in her screen roles.As a complete contrast to her normal saintly image (Duel in the Sun excepted) she plays Ruby Gentry,a Sth.Carolina girl from the wrong side of the tracks who gets emotionally involved with Boake Tackman (Chalton Heston) her sometime aristocratic boyfriend who is promised (more as a property contract) to Tracy who comes from another good Sth.Carolina family.Ruby has a religous zealot brother who constantly harps on about “doom and gloom” if his sister carry’s on her liaison with Boake.When Ruby realises she will not become Mrs Tackman she agrees to marry Jim Gentry -a working class local boy made good, played by Karl Malden, (funny how he always looks the same age in all his films no matter when they were filmed!).After a boating accident Jim dies and Ruby “cops the lot” arousing suspicion in the local town folk who knew Jim Gentry.There is nothing more scary than a woman scorned and when Boke rejects Ruby’s last offer of money for marriage, she goes ballistic and purposely ruins his carefully cultivated fields he has reclaimed at great expense from nature but I will not divulge the ending.The poor old doctor does not press his suite enough but Ruby does not fancy him anyway. An interesting new role for JJ who certainly looks “the biz” in her tight fitting jeans!

  • t-toth-marianna
    t toth marianna

    Jennifer Jones had different types of roles in the films her husband David O. Selznick made. She’s a dutiful daughter in SINCE YOU WENT AWAY. She is a simple, holy young woman – destined for religious greatness, in SONG OF BERNADETTE. She is one of a pair of twisted, oversexed, mutually doomed lovers in DUEL IN THE SUN. She is a doomed nurse who dies in World War I in A FAREWELL TO ARMS. Even in a film she was loaned for – BEAT THE DEVIL – she is a chronic liar and fantasist. Her title role as “Ruby Gentry” resembles her “Pearl Chavez” in that she is from a despised background (Ruby is from the “hillbilly” woods country, and Pearl is half Indian), but Ruby eventually does make it materially…but at a cost.Let’s face it – RUBY GENTRY is an example of a soap opera turned into a motion picture. In fact, after watching it one wonders why Selznick chose to make this film. DUEL IN THE SUN was a western, SONG OF BERNADETTE a historical film, PORTRAIT OF JENNIE a popular novel of the day. GENTRY was a novel too, but it’s plot was not as mystical and weird as PORTRAIT OF JENNIE (wherein Joseph Cotton fell in love with the portrait of a young woman, whom he gradually learned died years earlier – and whom he experiences the love and loss of by meeting her ghost). GENTRY is set in the south, and is told by an outsider (a northern doctor who just moved to the Carolina coastal town – he’s also having problems getting accepted*).(*The doctor’s first name is rather Jewish sounding, which may be another reason he is having problems of acceptance in the town.)The story follows how Jones fascinates most of the men she meets: she has an affair with Charleton Heston, she has been under the protection of Karl Malden and his wife, and the doctor realizes what a remarkably talented woman she is too. But she is not socially fit to marry Heston (whose business ideas require a wealthy wife at least). When Malden’s wife dies she accepts his subsequent marriage proposal. But while the social swells don’t knock Malden (accepted as one of them and a decent guy) they won’t accept her. The marriage suffers and subsequently Malden dies in an accident. Now wealthy Jones still finds that her wealth does not buy acceptance. And her point of view begins to sour towards the “upper crust” who prove more frail facing her than they imagine.The film works. Not only do the three leads do well (watch Malden’s jealousy scene at the country club, or the scene of Heston and Jones driving a convertible at night alongside the ocean on the beach – one wonders if the scene influenced the scene of Jack Nicholson and Shirley MacLaine in TERMS OF ENDEARMENT). Also noticeable are the actors playing the doctor (Barney Phillips) and Jones’ brother (James Anderson), a religious maniac who may have certain incestuous ideas about her himself. If it is a soap opera it is a superior one, with firm acting, good directing by King Vidor (who had done the directing in DUEL IN THE SUNS), and even a memorable musical theme (“Ruby”). Jones is excellent, even if the role would have been more typical for Susan Hayward in that period.