La mujer que amó y no fue correspondida, el hombre que amó y no correspondió. Se gesta una discordia producto de las conveniencias y los resentimientos. La segunda parte es lo mejor de la película, para cuando los personajes dejan a un costado sus caretas y hacen lo que les plazca, especialmente Jones, quien ahora abraza el poder y, por tanto, la confianza para someter a sus enemigos e incluso al hombre que ama.
Everything is already in the title here: ´Ruby´as the money needed by Charlton to reconquer his lost plantation and ´Gentry´as the social class the main character won't manage to conquer despite education and wealth. Ironically, we know from the start on that Jennifer Jones won't become Ruby Tackman but Ruby Gentry only. Another King Vidor masterpiece.
Loathsome contemporary-types w/ a propensity for snickering at old movies will doubtlessly find much to guffaw at in RUBY GENTRY, and I will concede that Jennifer Jones and Charlton Heston are not strong actors and tend to benefit when they dial it back a little. However, I can think of few movies made anywhere by anybody EVER that have subtexts this delicious. Marx + Freud and a little Sophocles. Truly fascinating.
It's interesting how King Vidor who made beautiful silent films and highly respectable and unashamedly emotional dramas in the thirties and forties ended up creating the entertainingly feverish kitschfests "Beyond the Forest," "The Fountainhead," "Duel In The Sun" and "Ruby Gentry." Even with ridiculous scripts, he gives you something to watch. Also, from the evidence of his silent comedies, he had a sense of humor.
I'm certainly a sucker for films that drip with the American South, and Ruby Gentry is told thick in the middle of it. Hands down one of the best movies I've ever seen. Every bit of it - from the fantastic completely overlooked score to the wild story and all in between - Ruby Gentry ranks among the greats.