When vigilante land baron David Braxton hangs one of the best friends of cattle rustler Tom Logan, Logan's gang decides to get even by purchasing a small farm next to Braxton's ranch. From there the rustlers begin stealing horses, using the farm as a front for their operation. Determined to stop the thefts at any cost, Braxton retains the services of eccentric sharpshooter Robert E. Lee Clayton, who begins ruthlessly taking down Logan's gang.
When vigilante land baron David Braxton hangs one of the best friends of cattle rustler Tom Logan, Logan's gang decides to get even by purchasing a small farm next to Braxton's ranch. From there the rustlers begin stealing horses, using the farm as a front for their operation. Determined to stop the thefts at any cost, Braxton retains the services of eccentric sharpshooter Robert E. Lee Clayton, who begins ruthlessly taking down Logan's gang.
The film deconstructs traditional Western tropes, portraying both the 'outlaws' and the 'law' (represented by a psychopathic regulator) as morally ambiguous and brutal, thus critiquing ideological extremes from both sides without promoting a specific political agenda.
The movie features a traditional cast for its genre and era, with no explicit diversity in its main roles. Its narrative centers on character-driven conflict within a classic Western framework, without critiquing traditional identities or incorporating explicit DEI themes.
The Missouri Breaks does not feature any identifiable LGBTQ+ characters or themes. The narrative focuses on a cattle rustler and an eccentric bounty hunter in the American West, without exploring queer identities or relationships.
The movie does not contain any action or adventure elements.
The Missouri Breaks is an original screenplay, not an adaptation of prior material or a historical biopic. All characters were created for this film, meaning none had a pre-established gender from a source to be swapped.
The Missouri Breaks is an original film from 1976, not an adaptation of prior source material or a depiction of historical figures. All characters were created for this specific production, meaning there are no pre-established canonical or historical racial identities to be altered.
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