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Cowboy (1958)
Chicago hotel clerk Frank Harris dreams of life as a cowboy, and he gets his chance when, jilted by the father of the woman he loves, he joins Tom Reece and his cattle-driving outfit. Soon, though, the tenderfoot finds out life on the range is neither what he expected nor what he's been looking for...
Chicago hotel clerk Frank Harris dreams of life as a cowboy, and he gets his chance when, jilted by the father of the woman he loves, he joins Tom Reece and his cattle-driving outfit. Soon, though, the tenderfoot finds out life on the range is neither what he expected nor what he's been looking for...
The film's central narrative champions individual responsibility and self-reliance as the solution to overcoming naive idealism and adapting to harsh realities, aligning with right-leaning themes of personal fortitude and traditional wisdom.
The film features a predominantly traditional cast, typical of its era, and does not include intentional race or gender swaps of established roles. Its narrative frames traditional identities in a neutral or positive manner, focusing on character development within a classic Western setting.
The film 'Cowboy' (1958) does not feature any identifiable LGBTQ+ characters or themes within its narrative. The story adheres to traditional Western genre conventions, focusing on adventure and character development without exploring queer identities or experiences.
The film "Cowboy" (1958) is a Western that does not feature any identifiable transsexual characters or themes. Its narrative focuses on cattle drives and the challenges of the Old West, with no depiction or discussion related to transgender identity.
The movie does not contain any action or adventure elements.
The film "Cowboy" (1958) is an adaptation of Frank Harris's memoir. All major characters, including the protagonist Frank Harris (a real historical figure), maintain their established or historical gender in the film's portrayal.
The 1958 film "Cowboy" is a Western based on a memoir. Analysis of its main characters, including the historical figure Frank Harris and the fictional Tom Reece, reveals no instances where a character's established race from source material or history was changed for the screen portrayal.
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