6.3
Viewer Rating
Combines user and critic ratings from four sources
Taras Bulba (1962)
Taras Bulba (1962)
Overview
Ukraine, 16th century. While the Poles dominate the Cossack steppes, Andrei, son of Taras Bulba, a Cossack leader, must choose between his love for his family and his folk and his passion for a Polish woman.
Starring Cast
Where to watch
Rating & Dimensions
Bias Rating
Analyzing...
Traditional
Political: Leans Right
Diversity: Low
Christianity: Positive
Islam: Negative
Judaism: Negative
Viewer Rating
6.3
Overview
Ukraine, 16th century. While the Poles dominate the Cossack steppes, Andrei, son of Taras Bulba, a Cossack leader, must choose between his love for his family and his folk and his passion for a Polish woman.
Starring Cast
Where to watch
Detailed Bias Analysis
Analyzing...
Traditional
Primary
The film champions nationalistic and religious unity, traditional warrior values, and unwavering loyalty to one's people and faith as the solution to oppression, aligning with conservative ideals of patriotism and tradition.
The film features traditional casting for its historical epic genre, with no explicit race or gender swaps of roles for DEI purposes. Its narrative positively frames traditional identities within the context of its historical setting, without incorporating modern DEI critiques or themes.
Secondary
The film portrays Orthodox Christianity as a fundamental and affirming aspect of the Cossack identity, serving as a powerful unifying force and a source of strength in their struggle for freedom against oppression. The narrative largely aligns with the Cossacks' righteous defense of their faith and people.
Islam, as represented by the Ottoman Turks, is depicted as an external, antagonistic force and a historical enemy of the Christian Cossacks. The film offers no significant counterbalancing positive portrayal or nuance, framing it primarily as a threat.
Jewish communities are depicted primarily as victims of Cossack violence and raids, often without individual agency or positive counter-narrative. The film's narrative does not condemn the Cossacks for these actions, thus reinforcing a problematic portrayal.
The film "Taras Bulba" does not feature any identifiable LGBTQ+ characters or themes. Its narrative is centered on historical conflict, Cossack culture, family loyalty, and a heterosexual romance, without any elements pertaining to queer identity or experiences.
The film 'Taras Bulba' (1962) does not feature any identifiable transsexual characters or themes within its historical adventure narrative. The plot centers on Cossack warriors and their struggles, with no elements related to transgender identity or experiences.
The film "Taras Bulba" is a historical drama primarily focused on male Cossack warriors and their conflicts. Female characters, such as Natalia, are present in significant roles but do not participate in any direct physical combat or engage in fights against male opponents.
The 1962 film adaptation of Nikolai Gogol's novella maintains the established genders of its main characters, including Taras Bulba, his sons, and Andriy's love interest. No significant character's gender was altered from the source material.
The film adapts a story about 17th-century Ukrainian Cossacks, who are historically white. The main cast, including Yul Brynner and Tony Curtis, are white actors. While Perry Lopez, an actor of Mexican descent, plays Ostap, this is considered an ethnic shift rather than a change in the broader racial category (white), per the provided definition's exclusions.
Viewer Rating Breakdown
User Ratings
6.3
6.3
Critic Ratings
N/A
N/A
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