Leans Traditional
8.3
My Man Godfrey
(1936)
Political: Center
Diversity: Low
Why They Left Home (1917)
Why They Left Home (1917)
Overview
Ira, who is employed at the oil station, falls in love with Flossie, wife of Jack, as they drive by. Ira later announces to his father that he is going to the city, and does. Mary, his ex-fiancée, learns he has gone to the city and consoles the father of Ira by announcing that she, too, is going to bring Ira home. In the city Ira meets Hank, a property man in a theater, who invites him to come with him behind the scenes. (Only 2 minutes survive. Held on 35mm in the Library of Congress).
Starring Cast
Rating & Dimensions
Bias Rating
Analyzing...
Traditional
Political: Strong Right
Diversity: Low
Viewer Rating
Not Rated
Overview
Ira, who is employed at the oil station, falls in love with Flossie, wife of Jack, as they drive by. Ira later announces to his father that he is going to the city, and does. Mary, his ex-fiancée, learns he has gone to the city and consoles the father of Ira by announcing that she, too, is going to bring Ira home. In the city Ira meets Hank, a property man in a theater, who invites him to come with him behind the scenes. (Only 2 minutes survive. Held on 35mm in the Library of Congress).
Starring Cast
Detailed Bias Analysis
Analyzing...
Traditional
Primary
The film's central thesis explicitly promotes traditional values by portraying the moral perils faced by young women who leave their rural homes for the city, ultimately championing a return to domesticity and established social norms as the solution.
This 1918 film features traditional casting with no apparent intentional race or gender swaps. Its narrative frames traditional identities neutrally or positively, without any explicit critique or central DEI themes.
Secondary
The film "Why They Left Home" (1918) does not contain any identifiable LGBTQ+ characters or themes. Historical records and plot summaries for this silent drama indicate no narrative elements or character depictions that align with the rubric's criteria for LGBTQ+ representation.
The film 'Why They Left Home' (1913) does not feature any identifiable transsexual characters or themes. Based on historical plot summaries and the context of silent era cinema, there is no portrayal of transgender identity within the narrative.
The movie does not contain any action or adventure elements.
This 1917 film is an original production, not an adaptation of existing material or a biopic. Therefore, no characters were previously established with a canonical or historical gender to be swapped.
This 1917 silent film is an original production, not an adaptation of existing material with pre-established character races or a biopic of historical figures. There is no evidence of any character having a canonically or historically defined race that was subsequently changed for this film.
More Like This
Center
6.8
The Aristocats
(1970)
Political: Center
Diversity: Low
Female Combat: Yes
Traditional
6.9
Quick Change
(1990)
Political: Leans Right
Diversity: Low
Leans Traditional
6.9
The Return of the Pink Panther
(1975)
Political: Center
Diversity: Low
Leans Traditional
8.1
Airplane!
(1980)
Political: Center
Diversity: Low
Leans Traditional
7.8
Planes, Trains and Automobiles
(1987)
Political: Center
Diversity: Low
Leans Traditional
7.0
The Pink Panther
(1963)
Political: Center
Diversity: Low
Leans Traditional
7.5
Punch-Drunk Love
(2002)
Political: Center
Diversity: Low
Traditional
7.4
The Party
(1968)
Political: Center
Diversity: Low
LGBTQ: Negative
Leans Traditional
7.0
Cat Ballou
(1965)
Political: Center
Diversity: Low
Leans Traditional
7.6
My Cousin Vinny
(1992)
Political: Center
Diversity: Low
Leans Traditional
7.4
Garden State
(2004)
Political: Center
Diversity: Low
LGBTQ: Neutral
Leans Traditional
7.0
Wuzzles: Bumblelion
(1985)
Political: Center
Diversity: Low
Leans Traditional
7.7
A Shot in the Dark
(1964)
Political: Center
Diversity: Low
Leans Traditional
7.5
Operation Petticoat
(1959)
Political: Center
Diversity: Low
Leans Traditional
8.6
Annie Hall
(1977)
Political: Center
Diversity: Low
LGBTQ: Neutral
Leans Traditional
7.9
Big
(1988)
Political: Center
Diversity: Low
Leans Traditional
8.5
The Sting
(1973)
Political: Center
Diversity: Low
Traditional
7.2
Slap Shot
(1977)
Political: Center
Diversity: Low
LGBTQ: Negative
Leans Traditional
7.1
The Sugarland Express
(1974)
Political: Center
Diversity: Low