This effective shocker manages to combine the possession themes from THE EXORCIST with the supernatural deaths from THE OMEN into a workable mixture, heavy on the atmosphere and nostalgia; smattered with enough bizarre incident, cheap deaths, and harassed acting on the part of the main performers to make it worthwhile. The best thing about the film by far is not the fragmented plot, but rather the direction of cult favourite Curtis Harrington, who fills every moment with enough suspense, tense atmosphere, and shuddery chills to flesh out a dozen later horror flicks. The setting of a dead-end drive-in (forever playing ATTACK OF THE 50 FOOT WOMAN) is a perfect one, with supernatural incident after supernatural incident taking place in the creaking, derelict, and run-down old buildings. Bodies are impaled to the giant screen, hanged with film reels, and disappear inside Coke machines, and there are enough low-budget blood and grue effects to please the graphic horror fan no end, along with a little macabre humour here and there.
The scripting is character-focused for a change, giving a chance for the main performers to develop their roles before being offed by the unseen spirit, which is a plus because the casting is excellent. Taking the title role is Piper Laurie, hot on the success of CARRIE, playing another eccentric character whose fate is inexorably bound up with that of her dead lover. She's just as good here as she was in Brian De Palma's hit, even if her character is deeper and more subtle than there. The underrated Stuart Whitman also turns in a fine portrayal as Vince, the ageing helper with an affection for Ruby, who may or may not be doomed to die at the hands of the vengeful spirit.
As the possessed child Leslie, Janit Baldwin is exceptionally creepy; with the aid of some eye make-up she easily transforms from looking like an innocent child into a creature of evil, and hers is the scariest performance in the whole movie. Finally we have Roger Davis, as the spiritual doctor brought in to sort out the whole mess, and he too contributes a solid and flawless performance. High on horror and creepy shudders, RUBY skilfully combines old-fashioned atmosphere and suspense with new-fangled bloodshed and violence, and the end result is an unfairly forgotten yarn which is not without flaws, but for the most part one to watch. Also be sure to check out the CARRIE-style shock ending, which is one of the best I've seen.
The scripting is character-focused for a change, giving a chance for the main performers to develop their roles before being offed by the unseen spirit, which is a plus because the casting is excellent. Taking the title role is Piper Laurie, hot on the success of CARRIE, playing another eccentric character whose fate is inexorably bound up with that of her dead lover. She's just as good here as she was in Brian De Palma's hit, even if her character is deeper and more subtle than there. The underrated Stuart Whitman also turns in a fine portrayal as Vince, the ageing helper with an affection for Ruby, who may or may not be doomed to die at the hands of the vengeful spirit.
As the possessed child Leslie, Janit Baldwin is exceptionally creepy; with the aid of some eye make-up she easily transforms from looking like an innocent child into a creature of evil, and hers is the scariest performance in the whole movie. Finally we have Roger Davis, as the spiritual doctor brought in to sort out the whole mess, and he too contributes a solid and flawless performance. High on horror and creepy shudders, RUBY skilfully combines old-fashioned atmosphere and suspense with new-fangled bloodshed and violence, and the end result is an unfairly forgotten yarn which is not without flaws, but for the most part one to watch. Also be sure to check out the CARRIE-style shock ending, which is one of the best I've seen.