
Arizona Bad Man
1935

1928
NRDirector
Irving Cummings, Raoul Walsh
Runtime
95 minutes
Average Rating
No ratings yetSynopsis
Army Sergeant Mickey Dunn sets out in pursuit of the Cisco Kid, a notorious if kind-hearted and charismatic bandit of the Old West. The Kid spends much of his loot on Tonia, the woman he loves, not realizing that she is being unfaithful to him in his absence. Soon, with her oblivious paramour off plying his trade, Tonia falls in with Dunn, drawn by the allure of a substantial reward for the Kid's capture -- dead or alive. Together, they concoct a plan to ambush and do away with the Cisco Kid once and for all.
Overall Score
Minimal
Category Breakdown
LGBTQ+ Representation
The film centers on a heterosexual romantic triangle between the Cisco Kid, Tonia, and Mickey Dunn. No non-cisnormative identities or same-sex intimacy are present.
Gender Representation
Male characters drive the action and moral conflict of the plot. While Tonia shows agency through her conspiracy, her motivations remain tied to material gain and romance.
Racial & Ethnic Diversity
The setting includes Indigenous populations, but the film reflects the homogeneous Western perspectives of 1928. It lacks color-blind casting or subversion of racial hierarchies.
Religious & Cultural Diversity
The story follows classic Western tropes of frontier justice and law versus lawlessness. It uses military and capitalist institutions as a baseline without offering systemic critique.
Disability Representation
No visible or invisible disabilities are portrayed. Characters are defined by the physical capabilities expected within the Western genre.
Strengths
Areas for Improvement
AI Analysis
In Old Arizona is a standard product of early 20th-century genre filmmaking. The narrative architecture reinforces the traditional social hierarchies and gender roles typical of the era. It functions as a straightforward exploration of frontier morality and romantic conflict. The film lacks intentionality in disrupting conventional expectations. It relies on established archetypes rather than providing intersectional depth or social subversion.

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