
Up in the World
1956

1963
NRDirector
Norman Maurer
Runtime
94 minutes
Average Rating
No ratings yetSynopsis
Phileas Fogg III, great grandson of the original Phileas Fogg, accepts a bet to duplicate his great grandfather's famous trip around the world in response to a challenge made by Randolph Stuart III, the descendant of the original Fogg's nemesis. Unbeknownst to anyone, However, "Stuart" is the infamous con man Vicker Cavendish who made the bet in order to cover up his robbing the bank of England by framing Fogg for the crime. This makes for a dangerous journey for Fogg and his servants (the stooges) and Amelia Carter, whom they rescue from thugs during a train ride. Can they make it back to England in time ?
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film lacks LGBTQ+ characters or narratives exploring non-cisnormative identities. It follows conventional comedic tropes centered on a male-driven adventure.
Gender Representation
The story centers on Phileas Fogg III and his male servants, reinforcing traditional masculine leadership. Amelia Carter serves primarily as a figure to be rescued, limiting female agency.
Racial & Ethnic Diversity
The plot follows Western protagonists navigating international spaces through a Eurocentric lens. There is no evidence of high-agency characters of color or diverse casting.
Religious & Cultural Diversity
The narrative emphasizes Western concepts of heroism and competition centered on English legacy. It lacks critiques of Western institutions or secularist themes.
Disability Representation
No characters are identified as having visible or invisible disabilities. The synopsis provides no information regarding disability representation.
Strengths
Areas for Improvement
AI Analysis
The film is a traditional slapstick comedy that adheres strictly to the social and narrative conventions of 1963. It prioritizes physical humor and archetypal tropes over nuanced social commentary or identity-driven storytelling. The adventure is driven by a male-centric lineage, focusing on the descendants of Phileas Fogg. This structure reinforces established hierarchies rather than subverting them. While the journey is global, the perspective remains Eurocentric. The narrative functions as a classic Western adventure without significant intersectional representation.

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