Johnny Riggs, a con man on the lam, finds himself in a Latin-American country named Patria. There, he overhears a convent-bred rich girl praying to her guardian angel for help in managing her tangled business affairs. Riggs decides to materialize as the girl's "angel", gains her unquestioning confidence, and helps himself to the deluded girl's millions. Just as he and his partner are about to flee Patria with their booty, Riggs realizes he has fallen in love with the girl and returns the money, together with a note that is part confession and part love letter. But the larcenous duo's escape from Patria turns out to be more difficult than they could ever have imagined.
Johnny Riggs, a con man on the lam, finds himself in a Latin-American country named Patria. There, he overhears a convent-bred rich girl praying to her guardian angel for help in managing her tangled business affairs. Riggs decides to materialize as the girl's "angel", gains her unquestioning confidence, and helps himself to the deluded girl's millions. Just as he and his partner are about to flee Patria with their booty, Riggs realizes he has fallen in love with the girl and returns the money, together with a note that is part confession and part love letter. But the larcenous duo's escape from Patria turns out to be more difficult than they could ever have imagined.
The film's central themes are apolitical, focusing on individual moral transformation and romantic love rather than societal or political issues. It champions personal growth and honesty as solutions to individual problems, resulting in a neutral rating.
The film features traditional casting for its era, with a predominantly white main cast. The narrative does not offer a critical portrayal of traditional identities, nor does it center on explicit DEI themes, instead focusing on a romantic fantasy plot.
The film portrays Yolanda's innocent, faith-based worldview, including her belief in guardian angels, as a source of purity and goodness. Her simple faith ultimately redeems the cynical protagonist, suggesting such beliefs hold transformative power and virtue.
Yolanda and the Thief, a 1945 musical, does not feature any identifiable LGBTQ+ characters or themes. The narrative is exclusively focused on a heterosexual romance, aligning with typical Hollywood productions of its era.
The movie does not contain any action or adventure elements.
Yolanda and the Thief is an original film from 1945, not an adaptation of pre-existing material or a biopic. All characters were created for this film, thus there are no prior canonical or historical gender baselines to swap from.
Yolanda and the Thief is an original musical film from 1945, not an adaptation of pre-existing source material or a biopic. Therefore, no characters had an established race prior to the film's creation that could have been altered.
Combines user and critic ratings from four sources