Leans Traditional
6.8
The Last Samurai
(2003)
Political: Leans Right
Diversity: Moderate
Flame of the Argentine (1926)
Flame of the Argentine (1926)
Overview
Doña Aguila, owner of a vast ranch and a valuable emerald mine in the Argentine, longs for her lost daughter, Conchita, and is victimized by her manager, Emilio Tovar, who is secretly stealing gems. Tovar goes to New Orleans to dispose of some emeralds, and persuading cabaret pianist Inez Remírez to impersonate the dead daughter, he schemes to divide her inheritance. Dan Prescott, a stranger, forces himself into their confidence and accompanies the couple on their return voyage. Doña Aguila's kindness causes Inez to repent and to refuse to carry out the plan; Tovar and his men attack the rancho to acquire an emerald necklace, and Inez rides for aid. Prescott, revealing himself to be an insurance agent, wins the heart of Inez, and Doña Aguila adopts her as her legal daughter.
Starring Cast
Rating & Dimensions
Bias Rating
Analyzing...
Leans Traditional
Political: Center
Diversity: Low
Viewer Rating
Not Rated
Overview
Doña Aguila, owner of a vast ranch and a valuable emerald mine in the Argentine, longs for her lost daughter, Conchita, and is victimized by her manager, Emilio Tovar, who is secretly stealing gems. Tovar goes to New Orleans to dispose of some emeralds, and persuading cabaret pianist Inez Remírez to impersonate the dead daughter, he schemes to divide her inheritance. Dan Prescott, a stranger, forces himself into their confidence and accompanies the couple on their return voyage. Doña Aguila's kindness causes Inez to repent and to refuse to carry out the plan; Tovar and his men attack the rancho to acquire an emerald necklace, and Inez rides for aid. Prescott, revealing himself to be an insurance agent, wins the heart of Inez, and Doña Aguila adopts her as her legal daughter.
Starring Cast
Detailed Bias Analysis
Analyzing...
Leans Traditional
Primary
The film's narrative centers on an individual's struggle against false accusation and their journey to clear their name, emphasizing personal perseverance and the eventual triumph of truth. It avoids explicit political commentary, focusing instead on universal themes of justice and adventure.
This film, produced in 1926, features traditional casting practices typical of its era, without intentional diversity-driven recasting. The narrative does not present critical portrayals of traditional identities, instead framing them neutrally or positively, consistent with the societal norms of the period.
Secondary
The film 'Flame of the Argentine' does not contain any discernible LGBTQ+ characters or themes. Consequently, there is no portrayal to evaluate, resulting in a net impact rating of N/A.
Available information for 'Flame of the Argentine' does not describe any scenes where female characters engage in and win close-quarters physical combat against male opponents. No such portrayals are evident.
There is no evidence that "Flame of the Argentine" (1926) is an adaptation of source material or based on historical figures where a character's gender was previously established and subsequently changed in this film. The characters' genders are established within the film itself.
No source material or prior canonical depictions of characters are provided for "Flame of the Argentine" (1926). Without a pre-established racial baseline for any character, it is not possible to determine if a race swap occurred according to the given definition.
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