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The Book of Ruth: Journey of Faith (2009)

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This movie is an adaptation of "The Book Of Ruth" from the bible. Powerful themes of tolerance and acceptance gained through love and understanding shine in this production.



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Cast overview, first billed only:
Sherry Morris ... Ruth
Carman ... Boaz
Eleese Lester Eleese Lester ... Naomi
Kera O'Bryon ... Orpah
Rebecca Holden ... Beth
Dan Haggerty ... Simeon
DJ Perry ... Benjamin
Ray Nikolaison ... Neb
Lana Wood ... Tani
Fred Griffith ... Mahlon
Gretchen Becker ... Raya
Russ Stine ... Eli
Robert Shepherd ... Obed
Kent Butler Kent Butler ... Caleb
Christopher Flores Christopher Flores ... David


This movie is an adaptation of "The Book Of Ruth" from the bible. Powerful themes of tolerance and acceptance gained through love and understanding shine in this production.

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Release Date:

15 December 2009 (USA) See more »

Also Known As:

The Book of Ruth: Journey of Faith See more »

Company Credits

Production Co:

Reel Frog Films See more »
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Did You Know?


Boaz: I don't want you to work anyone's field but mine. You have the freedom to do whatever you need to do.
Ruth: Thank you. You must know that I'm not of your people. Why are you so good to me?
Boaz: I don't see people for who they're not. I see them for who they are.
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Version of Ruth (1948) See more »

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User Reviews

A noble dream, but butchered in its realization-- acting & audio seriously under-par
5 December 2012 | by anatisfairywheelSee all my reviews

I'm giving this film a 3 out of 10 because of the effort which I believe must have been put forth in making this production. In a word, the film is awful. A noble attempt, but flawed and failed. It could have been worse--the costumes could have been blatantly incorrect and the acting could have been a little worse, and the dialogue perhaps even more fake. But not much worse. The main actors each have a moment or two were they finally seem to shine as actually being into the part (the actor who played Boaz was, in my opinion, the most believable in the film), but most of the time they trudge along plainly reciting their lines, seeming to only go through the motions. The plot is very plain and the acting is dry. The most basic and boring scenes are hopelessly drawn out. The dialogue seems very contrived and often downright cheesy. Perhaps if the characters seemed to actually be feeling the emotions and if they had the experience, feelings, and action to back it up, they could convey these lines believably. But they cannot. The film absolutely lacks emotion and interest. It's only redeeming factor might be the character of Boaz, whose performance (and delivery) does add a slight bit of humor among the shoot-me-now lines. Eleese Lester (playing Naomi) is also notable for having perfectly portrayed the oh-so-kind and sweet, sacrificial motherly love of her character; she actually reminds me very much of someone I know; but still we never really see the deep source of her kind spirit, and we never really connect with the inner life of her character. The voice-overs of her thoughts, perhaps meant to correct this deficit, only seem cheap and laughable. Besides this, all of the characters (and even the dialogue and plot, at times) seem very Americanized. It looks like a bunch of modern Americans trying to play the parts and act like these people from the stories they've heard, and trying to do the things that they've been told. Not good.

Besides that, the audio quality is quite poor throughout the film, particularly during the outdoor scenes. If they couldn't get quality audio to begin with, then they should have at least gone back and dubbed the dialogue in a studio afterwards; even if it had then been slightly unsynchronized, it almost certainly would have been more bearable than the final results the audience is forced to sit through. The film's photography manages to be mostly decent, except for a few sunspots (lens flare). While there can certainly be artistic purpose for sunspots, they don't do any favors here (and probably not in any other period film) as they only draw attention to fact that there is a camera there, and thus modern technology. The only appropriate place for sunspots in a film like this might be in a scenic sweep of the landscape, but as Ruth begins her journey they are very prominent and nearly covering her face as she speaks. Aside from that, the costuming seems just a little off to me, not quite authentic, but perhaps I'm wrong..

The film was certainly a noble dream by those involved, but its realization has not done it justice; this dream has not survived the journey to the waking world--at least, not without being significantly butchered.

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