
Le grand numero (1952)
Not Rated

Overview
A circus clown turns out to be a quite a ladies' man in this charming short story from the master of stag films, Cecil B. De Mézig. This is most likely the first stag film made in color, or more precisely in pornocolor as it is introduced at its very start. This was long before color became the norm in stag films in the late 60s.
Starring Cast
Bias Dimensions
Overview
A circus clown turns out to be a quite a ladies' man in this charming short story from the master of stag films, Cecil B. De Mézig. This is most likely the first stag film made in color, or more precisely in pornocolor as it is introduced at its very start. This was long before color became the norm in stag films in the late 60s.
Starring Cast
Detailed Bias Analysis
Primary
The film's central thesis explicitly promotes the ideals of Soviet Pioneerism, emphasizing state-sponsored collectivism, ideological education, and communal spirit, which aligns with a clearly left-wing (communist/socialist) political stance.
The film, likely a Soviet production about the Young Pioneers, features traditional casting consistent with its era and origin, without any intentional modern DEI-driven race or gender swaps. Its narrative is expected to portray traditional identities positively, aligning with the didactic nature of Soviet youth films, and does not contain any explicit critique of these identities or central DEI themes.
Secondary
Based on the lack of specific plot or character information for 'Pioneerism No. 3', an evaluation of its LGBTQ+ portrayal is not possible. Thus, it is categorized as N/A, indicating no identifiable LGBTQ+ content in the given context.
This film, a 1952 German documentary short about woodcarving, does not feature any identifiable transsexual characters or themes. Therefore, it falls under the 'No depiction' category, resulting in an N/A rating for its portrayal of transsexual identity.
The movie does not contain any action or adventure elements.
Pioneerism No. 3 is an early short film by Eldar Ryazanov. There is no available information indicating it is an adaptation of a work with pre-established characters or a biopic of specific historical figures. Therefore, no characters exist with a prior canonical gender to be swapped.
Without information regarding the film's source material, specific characters, or their established canonical/historical races, it is not possible to identify any instance of a race swap according to the provided definition.
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