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Oppåt med Gröna Hissen

Oppåt med Gröna Hissen

1952

15

Director

Börje Larsson

Runtime

95 minutes

Average Rating

No ratings yet

Synopsis

A man and a woman are cheated on by their respective partners and decide to get their revenge.

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Diversity & Representation

Overall Score

1.8/10

Minimal


Category Breakdown

LGBTQ+ Representation

Minimal

The film focuses on a heterosexual romantic conflict between a man and a woman. There is no evidence of non-cisnormative identities or narratives that challenge heteronormativity.

Gender Representation

Fair

Both male and female leads drive the plot through a shared revenge mission. While the female lead shows agency, the story remains tied to traditional 1950s romantic tropes.

Racial & Ethnic Diversity

Minimal

The film likely reflects the homogeneous social landscape of 1952 Sweden. There is no evidence of diverse casting or non-Anglo-Saxon perspectives.

Religious & Cultural Diversity

Limited

The narrative centers on individualistic social mores and personal vendettas. It lacks evidence of anti-institutional or secularist subtext, operating within standard period moral frameworks.

Disability Representation

Minimal

There is no documented evidence of characters with physical, sensory, or neurodivergent traits within the narrative.

Strengths

  • The plot provides a degree of parity in agency by allowing both the male and female leads to actively participate in the revenge scheme.

Areas for Improvement

  • The film lacks representation of LGBTQ+ identities, racial diversity, or characters with disabilities.
  • The narrative adheres to traditional gendered tropes and conventional social mores of the 1950s.

AI Analysis

Oppåt med Gröna Hissen is a mid-century Swedish comedy that prioritizes traditional romantic and social dynamics. The plot is driven by a man and a woman seeking retribution after being cheated on, which provides a baseline of gendered agency but stays within conventional genre boundaries. The film lacks intersectional elements, reflecting the era's production standards. It appears to be a character-driven piece focused on interpersonal conflict rather than a critique of systemic social or cultural structures. Ultimately, the work functions as a standard genre piece of its time, offering little disruption to the established social hierarchies of 1952.

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