
Not Rated
A screen adaptation of excerpts from Jack London's dystopian novel of the same name describing the rise of the Oligarchy (the "Iron Heel") in the United States. The film was meant to be screened during theatre performances performed by the same actors.
A screen adaptation of excerpts from Jack London's dystopian novel of the same name describing the rise of the Oligarchy (the "Iron Heel") in the United States. The film was meant to be screened during theatre performances performed by the same actors.
The film's central thesis explicitly promotes anti-capitalist and pro-socialist revolutionary ideology, depicting the brutal suppression of the working class by a capitalist oligarchy and championing collective action as the solution.
The 1919 film 'The Iron Heel' features traditional casting consistent with its historical period and source material, without intentional diversity-driven recasting. Its narrative focuses on class conflict and political critique, rather than explicitly addressing or critiquing traditional identities within a modern diversity, equity, and inclusion framework.
Consistent with its Soviet production and the source novel's critique of established power, the film portrays Christianity as an institution that supports or is manipulated by the oppressive 'Iron Heel' regime. It depicts religion as a tool used to pacify the masses and hinder revolutionary consciousness.
The film 'The Iron Heel' does not feature any identifiable LGBTQ+ characters or themes. Its narrative is centered on political and social commentary, depicting class struggle and a dystopian future without addressing queer identity or experiences.
The movie does not contain any action or adventure elements.
The 1919 film "The Iron Heel" is an adaptation of Jack London's novel. Key characters like Ernest Everhard and Avis Everhard retain their original genders from the source material, with no evidence of canonical characters being portrayed as a different gender.
The 1919 film is an adaptation of Jack London's 1908 novel. There is no historical or canonical evidence suggesting that any character, established as white in the source material, was portrayed by an actor of a different race in this early silent film.