OSS 117: From Africa with Love
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Diversity score: 6.8 out of 10
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The Trouble with Spies
1987
PG-13Director
Burt Kennedy
Runtime
91 minutes
Average Rating
No ratings yetSynopsis
George Trent, a British spy, has gone incommunicado in Ibiza. Appleton Porter (Donald Sutherland) is sent to find out what happened to Trent. Porter settles into a small hotel with several busybody guests. He probes them for information about Trent, their former neighbor. Meanwhile, the spy survives several attempts on his life as he attempts to solve the mystery.
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Diversity & Representation
Overall Score
2.3/10
Limited
Category Breakdown
LGBTQ+ Representation
The film follows a traditional male-centric spy caper structure. It lacks any engagement with queer themes or non-cisnormative identities.
Gender Representation
Agency is heavily concentrated in male protagonists like Donald Sutherland. The plot focuses on male-driven bumbling, offering little room for female characters to show agency.
Racial & Ethnic Diversity
The 1930s European setting and genre conventions result in a homogeneous cast. There is no evidence of significant racial breadth or non-white characters with high agency.
Religious & Cultural Diversity
The story operates within standard Western adventure tropes and international intrigue. It does not challenge Western institutions or explore complex ethical frameworks.
Disability Representation
The film lacks characters with visible or invisible disabilities. Comedy relies on slapstick rather than nuanced portrayals of neurodivergence or physical impairment.
Strengths
- Provides a classic, era-appropriate comedic spy adventure experience.
Areas for Improvement
- Lacks meaningful agency for female characters.
- Shows minimal racial or ethnic diversity within its European setting.
- Fails to include any LGBTQ+ representation or queer themes.
- Does not feature characters with disabilities portrayed with nuance.
AI Analysis
The Trouble with Spies is a product of its era, functioning as a conventional adventure comedy. It relies on established masculine archetypes and a Western-centric perspective that lacks intentionality in diversifying its cast or themes. While the film succeeds as a genre piece, it adheres strictly to the social and narrative hierarchies of the late 1980s. The focus remains on male-driven slapstick and traditional espionage tropes. Ultimately, the film offers very little representation outside of a narrow, heteronormative, and Western-centric lens, making it a standard example of mid-century adventure storytelling.
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