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6.7
Fate/Grand Order: Divine Realm of the Round Table - Camelot Wandering; Agateram
(2020)
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Diversity: Moderate
LGBTQ: Neutral
Female Combat: Yes
The Man from the Moon (1951)
Bias Rating
Analyzing...
Center
Viewer Rating
Not Rated
Overview
O-Kiyo (Mitsuko Mito), who had escaped from her boss, Shoden, who controlled the Sensoji Temple district, was desperately contemplating suicide when she was rescued by ronin Kojuro Tozawa (Kazuo Hasegawa), who hid her in a dilapidated apartment building. The Shoden clan desperately searched for O-Kiyo, but Kojuro found a huge sum of 50 ryo and ransomed O-Kiyo. Unable to accept this outcome, the enraged Shoden clan attempted to win the favor of constable Jinnosuke Nakayama (Kusuo Abe), seeking to demolish the dilapidated building and transform the area into a pleasure district. However, Kojuro thwarted their plans, bringing joy to the poor residents of the building. After demonstrating his remarkable skills, Kojiro revealed his true identity - he was a prominent hatamoto.
Starring Cast
Bias Dimensions
Political: Center
Diversity: Moderate
Overview
O-Kiyo (Mitsuko Mito), who had escaped from her boss, Shoden, who controlled the Sensoji Temple district, was desperately contemplating suicide when she was rescued by ronin Kojuro Tozawa (Kazuo Hasegawa), who hid her in a dilapidated apartment building. The Shoden clan desperately searched for O-Kiyo, but Kojuro found a huge sum of 50 ryo and ransomed O-Kiyo. Unable to accept this outcome, the enraged Shoden clan attempted to win the favor of constable Jinnosuke Nakayama (Kusuo Abe), seeking to demolish the dilapidated building and transform the area into a pleasure district. However, Kojuro thwarted their plans, bringing joy to the poor residents of the building. After demonstrating his remarkable skills, Kojiro revealed his true identity - he was a prominent hatamoto.
Starring Cast
Detailed Bias Analysis
Analyzing...
Center
Primary
The film's title, 'The Man from the Moon,' does not inherently suggest any political themes, and without further plot or thematic details, it is impossible to discern any specific political bias, leading to a neutral rating.
The movie features a cast traditional to its Japanese origin, without engaging in explicit DEI-driven recasting. Its narrative is not expected to critically portray traditional identities, aligning with the typical framing of films from its era.
Secondary
Based on available information, 'Tsuki kara kita otoko' does not appear to include any identifiable LGBTQ+ characters or themes, leading to an N/A rating for its portrayal within the framework.
The movie does not contain any action or adventure elements.
The film "Tsuki kara kita otoko" (1951) does not appear to be an adaptation of a pre-existing work with canonically established characters, nor is it a biopic or reboot. Therefore, there is no prior baseline to determine if any character's gender was swapped.
This 1951 Japanese film is an original production and not an adaptation of existing material with pre-established characters of a different race. There is no indication of any character being canonically or historically established as one race and then portrayed as another.
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