The film operates within a strictly heteronormative framework. There is no presence of non-cisnormative identities or same-sex intimacy, adhering to the conventional gender binaries of the 1960s.

Gender hierarchies are reinforced through a narrative driven by male camaraderie and martial glory. Women function primarily as romantic catalysts or figures needing protection, lacking significant agency.

The cast is predominantly white and Anglo-Saxon, reflecting the era's production standards. It lacks characters of color with high agency, mirroring the homogeneous social hierarchies of the 19th-century South.

The film offers a nuanced deconstruction of the 'glory of war' myth by focusing on disillusionment. However, it remains rooted in traditional Western structures without deeper institutional critiques.

There is no discernible focus on neurodivergence or physical disabilities. Characters are defined almost exclusively through their physical vitality and martial capabilities.