Ruby

Despite a multitude of minor blemishes, RUBY stands as an effectually devised psychological/supernatural chiller which gainsays its deficient funding.

Piper Laurie turns out an impressive performance as Ruby, a hard-drinking harlot in ownership of a weatherbeaten old drive-in movie theater. In years past, she was a knockout gangster's moll whose man was murdered gangland style. Before he died, he vowed to return from the grave...a promise which, it seems, he has kept.

A cleverly formulated B quickie thick with gloom and disquietude, RUBY is an honorable short-order undertaking which emanates a pleasingly differential mood of foreboding creepiness.

6/10

One of those quick-and-dirty kind of killer B's made by small independents to cash in on box office smashes, RUBY tried to ride the coattails of Piper Laurie's Oscar-nominated turn in CARRIE, to which this movie owes more than just a nod of acknowledgment, along with THE EXORCIST and Brian De Palma's own CARRIE follow-up, THE FURY.

Laurie collaborates with cult-film favorite Curtis Harrington, (NIGHT TIDE, THE DEAD DON'T DIE) to try and lend credibility to the unique if unsteady story of a faded gun moll, just getting by living at a decrepit drive-in with her teenage daughter (Janit Baldwin, a good candidate for a game of "whatever happened to...?") Seems Mama Ruby had a little more to do with her gangster hubby's demise than she let on, but no worries...Daddy's little girl is going to get to the bottom of things in a way that CARRIE would definitely approve of...

This is a tough one to find on late night TV, and tougher still if you're looking for the original Harrington edit, which had been butchered and diluted over the years by different ham-handed distributors and program directors. Not a classic by any means, but for creepshow completists, Laurie is like a female Vincent Price...her performances are worth catching even in the most Gawd-awful dreck. And though RUBY is hardly a gem, it's not quite THAT bad, either.

Piper Laurie follows her success in Carrie with another supernatural horror, Ruby, in which she plays gangster's moll Ruby Claire, who, sixteen years after witnessing the cold-blooded shooting of Nicky (Sal Vecchio), the father of her unborn child, finds herself menaced by his vengeful spirit. Believing that he was betrayed by his lover, Nicky's ghost proceeds to bump off the ex-gangsters now employed at her drive-in theatre, using his mute daughter Leslie (Janit Baldwin) as a conduit, before finally confronting Ruby herself.

Opening with the wonderfully dreamlike murder of Nicky in a bayou, Curtis Harrington's Ruby is not without atmosphere and style, the director making effective use of his rundown drive-in location and its eerie, foggy swampland surroundings. Sadly, despite the creepy ambiance, several creative kills (ala The Omen)—hanging by film stock, impalement to movie screen, death by drinks vending machine—plus a couple of fun possession scenes clearly inspired by The Exorcist, the overly talky nature of the script prevents the film from being a complete success, the dull dialogue frequently bringing the action to a standstill.

"Ruby" follows an ex-gun moll in 1951 Florida who employs a bunch of her former mobster peers to run a drive-in theater adjacent to her house. Unfortunately for Ruby, the spirit of her deceased husband has come back to haunt her, the drive-in, and her mute daughter.

This is a film that has been on my radar for years, but I've never caught it until recently; and boy, what a strange cocktail it is. At times, "Ruby" is a quasi-mob flick; at others, it's a supernatural horror film riffing (rather sloppily) on "The Exorcist." In some moments, it's a chamber drama. The end result is truly baffling and the tone inconsistent. But is it all bad? Not really.

The glue that holds it together is star Piper Laurie, fresh off her critical acclaim from "Carrie" (it's a mystery why she agreed to do this low-rent grindhouse flick). Even though her role is much less exciting than that of Margaret White, she plays the oddly amoral Ruby in a way that evokes Norma Desmond from "Sunset Boulevard." Her gun moll past is at times overshadowed by her failed "career" as a singer and actress, and she spends a fair amount of the film lamenting her nascent glory days, strutting around her house in extravagant costumes and playing her sole record on a jukebox in a makeshift dance hall. It's all very bizarre, and director Curtis Harrington never even attempts to elucidate the context.

It's probably this utter weirdness and lack of clarity that left me mildly amused by "Ruby," because there is more that doesn't make sense about it than there is that does. As the film ramps up to its finale, featuring full-blown poltergeist madness and Linda Blair-esque contortions, it serves up a ridiculous conclusion that is oddly befitting. Given how silly and utterly strange it all is, the "Scooby Doo" ending makes sense.

Overall, I found myself consistently entertained by "Ruby," though it is not a good film, nor is it a film for everyone. As a horror film, it is rather dull and apes snippets of its contemporaries--but as an utter anomaly, "Ruby" deserves some street credit. There truly isn't much out there that is quite like it. A haunted gun moll running a haunted drive-in? The people who will enjoy this know who they are. 6/10.

The title of this film and Piper Laurie's presence clearly derive from CARRIE (1976) – though I was misled into thinking that Ruby was the possessed child rather than the mother. While I'm not sure the EXORCIST trappings were really necessary, these actually extend to only a couple of scenes…and one has to understand that the notorious 'spider walk' from the 1973 classic – depicted here (but more on this later) – wasn't officially a part of the film until its 2000 re-edit! Incidentally, the irate-father-speaking/murdering-through-his-child angle was also seen in Mario Bava's contemporaneous SHOCK (1977).

RUBY, therefore, is silly but quite effective scene-by-scene and, anyway, it certainly provides a unique mixture of supernatural horror with the typical gangland milieu. The drive-in theater element (showing ATTACK OF THE 50-FOOT WOMAN [1958] years before it was actually made; the story is ostensibly set in 1951!), then, renders the proceedings even trashier (especially with the participation of a sluttish habitué) – while, at the same time, serving as a comment on the genre itself.

The swamp (and period) setting supply the requisite atmosphere: Laurie's bitter but still-attractive torch singer/aspiring film-star/gangster's moll dominates her associates (the very same gang that killed her lover at the start of the picture!) but obviously clings to the past – linking the film to Harrington's earlier horror outing WHAT'S THE MATTER WITH HELEN? (1971). The odd-looking Janit Baldwin is perfectly cast as the mediumistic girl, especially creepy when the dead gangster – through her – confronts Laurie with his suspicions that the latter set him up. Stuart Whitman is a likable ageing hero, and Roger Davis rises to the occasion as a paranormal expert.

Unfortunately, the special effects and gore are cheaply done and the ending (different from Harrington's original conception) somewhat abrupt; though the version on the VCI DVD I purchased is credited as being the "Director's Cut", it's still missing some footage…but, at least, is free of other additions requested by the producers (reportedly the work of Stephanie Rothman) for the film's Network TV showings.

The disc includes an hour-long career overview with director Harrington and film critic David Del Valle, which is extremely interesting: it touches upon some of the films I watched in tribute to his recent passing, but also a number of others (including the TV stuff) which are still very rare to come by. Besides, he fondly reminisces about his encounters with several film legends such as Alfred Hitchcock, Josef von Sternberg, Orson Welles and James Whale (let's not forget that Harrington is the man responsible for saving the latter's delightful THE OLD DARK HOUSE [1932] from oblivion) – all of whom, incidentally, are among my own personal favorites!

The Audio Commentary is similar to the one for Harrington's NIGHT TIDE in that, apart from denoting locations where specific scenes were shot (which would mean very little to a foreigner like myself!), the director seems to be fuzzy on many production details. However, what he didn't forget – or forgive, for that matter – is his strained relationship with the film's executive producer, Steve Krantz (whom Harrington even describes as "evil"): he never misses an opportunity to put him down – berating Krantz for his stinginess, for imposing a mediocre cameraman on him and, needless to say, for ruining his 'poetic' ending! The director also remarks about the remarkable longevity of horror classics vis-a'-vis mainstream productions from Hollywood's Golden Age, and recalls the Karloff/Lugosi vehicle THE RAVEN (1935) as having been his introduction to the genre. Incidentally, the RUBY Commentary is a lot more animated than that of NIGHT TIDE – thanks to the enthusiastic contribution of star Piper Laurie, even if she's critical of her own performance at this juncture (and blames the tight schedule for it). As for the 'spider walk', it emerges that this eerie contortionist effect wasn't borrowed from THE EXORCIST at all – but rather from a Salvador Dali painting about a psycho-physiological condition known as the Hysterical Arch!