A Michigan farmer and a prospector form a partnership in the California gold country. Their adventures include buying and sharing a wife, hijacking a stage, kidnapping six prostitutes, and turning their mining camp into a boom town. Along the way there is plenty of drinking, gambling, and singing. They even find time to do some creative gold mining.
A Michigan farmer and a prospector form a partnership in the California gold country. Their adventures include buying and sharing a wife, hijacking a stage, kidnapping six prostitutes, and turning their mining camp into a boom town. Along the way there is plenty of drinking, gambling, and singing. They even find time to do some creative gold mining.
The film explores unconventional social structures and community formation in a gold rush setting, presenting themes that challenge traditional norms alongside those celebrating individualism, without explicitly endorsing a specific political ideology.
The movie features traditional casting with a predominantly white main cast and does not include explicit race or gender swaps of established roles. Its narrative frames traditional identities neutrally or positively, without centralizing or explicitly critiquing modern DEI themes.
The film portrays traditional Christian morality and its adherents as largely ineffectual or comically out of place in the frontier setting. The narrative implicitly critiques its rigidity by celebrating unconventional social structures and individual freedom that often run counter to Christian doctrine.
The film "Paint Your Wagon" does not feature any identifiable LGBTQ+ characters or themes. Its narrative centers on a polyamorous heterosexual relationship in a 19th-century gold mining town, with no elements pertaining to queer identity or experiences.
The movie does not contain any action or adventure elements.
The film "Paint Your Wagon" is an adaptation of the 1951 Broadway musical. All major and named characters in the film retain the same gender as their established counterparts in the original stage production, with no instances of a character's gender being changed.
The film is an adaptation of a Broadway musical. No major or legacy characters who were canonically or widely established as one race in the source material are portrayed as a different race in the film. The casting of a Native American actor for a character whose race was not specified in the original musical does not constitute a race swap under the given definition.
Combines user and critic ratings from four sources