That was an excellent one.

best movie i've ever seen.

Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

I really enjoyed this film---didn't know what the story was going to be beforehand, so it was really a great soap opera---the kind Hollywood used to make.Did you ever watch a film today and say to yourself, "That was predictable!" Well, I never once was able to say that about this film! It was all over the map, maybe not a great masterpiece..but very well acted and cast, and looked gorgeous.Jennifer Jones was one sexy lady! If you want to see a real actress at work, then this film is for you!Why can't Hollywood remake a film like this one---maybe it is too "adult" for today's audiences!

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.

...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.

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.