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A con artist masquerades as Russian nobility and attempts to seduce the wife of an American diplomat.
A con artist masquerades as Russian nobility and attempts to seduce the wife of an American diplomat.
The film critiques individual moral failings, greed, and the decadence of the wealthy elite through satire and a cautionary tale, without advocating for specific political reforms or ideologies, thus remaining politically neutral.
The film features a cast that is predominantly white, reflecting the historical context of its production and setting. Its narrative critiques moral failings and societal decadence within the European aristocracy, but does not explicitly target or negatively portray traditional identities in a DEI-centric manner.
Foolish Wives features subtle lesbian undertones in the relationship between Princess Olga and her maid, Maud. This dynamic is presented as part of the characters' overall moral ambiguity and decadent lifestyle, without being a central focus of either affirmation or condemnation. The portrayal is incidental, neither uplifting nor denigrating queer identity specifically.
The film critiques the moral hypocrisy and depravity of characters who are nominally Christian, particularly the villainous Count. However, the narrative clearly condemns these actions and portrays genuine faith, such as that of the maid Maruschka, sympathetically, implicitly affirming the moral virtues that the characters fail to uphold.
The movie does not contain any action or adventure elements.
Foolish Wives is an original story with characters created for the film. There is no prior source material, historical record, or established canon against which to assess a gender swap.
Foolish Wives is an original film from 1922, not an adaptation of prior material or a biopic of historical figures. Therefore, no characters had a pre-established race to be swapped from.
Combines user and critic ratings from four sources