By Kathia Woods
“Ruth and Boaz” is the first film in a co-production between Devon Franklin and Tyler Perry focused on faith-based stories for Netflix. This adaptation takes place in modern-day Nashville, where we meet Ruth Moably (Serayah), a talented singer who is on the rise but not feeling comfortable about the direction her career is going in.
Ruth prays that God receives glory for her music, while her friend jokingly expresses a desire for a bit of glory as well. She decides to leave the industry because she believes that is what God is calling her to do. This decision leads to a series of events resulting in death, including Naomi’s husband and son. Naomi, played by Phylicia Rashad, is angry at God after losing her loved ones. Ruth’s manipulative manager, Syrus (James Lee Thomas), vows to haunt her unless she returns to the group. This prompts Ruth to join the grieving Naomi in a rural town in Tennessee. There, Ruth secures a job at a vineyard owned by Boaz (Tyler Lepley), a devout and kind-hearted man who feels drawn to her, but her troubled past lingers.
The decision to modernize the story has sparked significant debate. The goal of updating it for a contemporary audience is to make it more relatable to a newer generation. However, some devout Christian viewers may feel that the creative liberties taken — such as the inclusion of secular music, violence, and flirtation — detract from the biblical story’s core themes of quiet faith and humility. Additionally, the essential role of the kinsman-redeemer is transformed into a more generalized narrative about a “man seeking danger,” which may be perceived as less engaging by some audiences.
Ruth and Boaz simplify Naomi’s bitterness into a more generic, plot-driven anger at God, stemming from the violent deaths of her husband and son. For instance, she removes her cross necklace in a moment of despair, a dramatic gesture that clearly conveys her spiritual state. The film shifts the focus to Ruth’s trust issues, rooted in her upbringing without parents and her fear of losing those close to her. However, we are only presented with one example: her last boyfriend, who was also Naomi’s son, was killed by her manager. More nuance is needed to fully understand the basis of her fears. The film suggests her apprehension arises solely from this one incident, neglecting to provide context about her childhood experiences that also contribute to her fear of goodness.
Phylicia Rashad delivers a standout performance as Naomi, anchoring the film with her powerful and nuanced portrayal of grief and eventual healing, which elevates every scene she inhabits. The chemistry between Serayah and Lepley takes some time to develop, but once it fully blooms, both stars shine in their respective roles. Lepley, who is gradually stepping into leading man territory, particularly excels as Boaz. While some of the musical selections may seem generic, the film positions itself not as a musical but as a love story.
Director Alanna Brown and the production team, including Tyler Perry Studios, have created a visually polished film.
This being a faith film, the love scenes are more reminiscent of a Hallmark movie, but that doesn’t detract from its entertainment value. At the center of the film are two people searching for love, set against the beautiful backdrop of wine country. There’s something redeeming in simplicity, stripping it back to the basics. For those looking for meaning behind this modern version of Ruth and Boaz, it suggests that secrets always come back to haunt you and that the truth, no matter how difficult, truly does set one free.
Ruth and Boaz is currently streaming on Netflix.