Viewer Rating
Combines user and critic ratings from four sources
When rancher, Don Trinidad is on his deathbed, he confesses to his fumbling son Rogelio, that he has two other illegitimate sons and that he wishes them to be included in his will. When Rogelio tracks them down, he discovers that each of them has a completely different life.
When rancher, Don Trinidad is on his deathbed, he confesses to his fumbling son Rogelio, that he has two other illegitimate sons and that he wishes them to be included in his will. When Rogelio tracks them down, he discovers that each of them has a completely different life.
The film's political bias is assessed as neutral due to the absence of specific plot details or thematic content that would indicate a clear ideological leaning.
This 1987 Mexican film features a cast that reflects its cultural origin, demonstrating visible diversity without explicit DEI-driven recasting of traditionally white roles. The narrative does not appear to critically portray traditional identities or center explicit DEI themes.
The film utilizes archetypes of 'the devil' and 'the saint' within a Christian framework to explore moral themes. While it may satirize human failings or hypocrisy, the narrative ultimately aligns with the virtues and dignity associated with the faith, affirming the distinction between good and evil and often portraying piety positively.
The film 'El diablo, el santo y el tonto' does not feature any identifiable LGBTQ+ characters or themes. Its narrative primarily focuses on traditional relationships and moral dilemmas, with no elements pertaining to queer identity or experiences.
The movie does not contain any action or adventure elements.
This 1987 Mexican film is an original production and not an adaptation, biopic, or reboot of existing characters. Therefore, its characters are new to this specific film, and there are no pre-established canonical or historical genders to be swapped.
There is no widely established source material (e.g., novel, comic, prior film, historical record) for "El diablo, el santo y el tonto" (1987) that defines the canonical race of its characters. Therefore, no character can be identified as having been race-swapped.
Combines user and critic ratings from four sources