
The Money
1958

1976
NRDirector
Craig Denney
Runtime
77 minutes
Average Rating
No ratings yetSynopsis
Craig Alexander, a con-man "psychic" on the carnival circuit receives the opportunity to pilfer some legendary rubies in Kenya. His luck holds and he winds up the sole beneficiary of the ill-gotten wealth, which he parlays into an astrological broadcasting empire. But once he reaches the top, there's only one direction he can go...
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film lacks evidence of queer narratives or non-cisnormative identities. The story focuses on traditional masculine archetypes and heteronormative power dynamics.
Gender Representation
The narrative centers on a singular male protagonist's ambition. There is no indication of female characters holding positions of systemic or intellectual authority.
Racial & Ethnic Diversity
While the plot features Kenya, it is unclear if the setting provides meaningful representation. The international locale may simply serve as an exoticized backdrop.
Religious & Cultural Diversity
The story follows a conventional capitalist 'rags-to-riches' trajectory. It prioritizes individual wealth accumulation over critiques of Western institutions or social structures.
Disability Representation
There is no information available regarding characters with visible or invisible disabilities.
Strengths
Areas for Improvement
AI Analysis
The Astrologer is a conventional crime drama that prioritizes a singular male protagonist's ascent from a carnival con-man to a media mogul. The narrative structure relies heavily on traditional genre tropes and individualistic ambition rather than social commentary. Representation is limited by a focus on heteronormative power dynamics and Western capitalist archetypes. While the film utilizes international settings like Kenya, these locations appear to function as plot devices for the protagonist's journey rather than tools for cultural depth. Ultimately, the film lacks an intentional disruption of social hierarchies, sticking instead to mid-century storytelling conventions regarding wealth and consequence.

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