
Last Stand of the 300
2007

2012
TV-PGDirector
Stephen Ives
Runtime
120 minutes
Average Rating
No ratings yetSynopsis
Follow General George Armstrong Custer from his memorable, wild charge at Gettysburg to his lonely, untimely death on the windswept Plains of the West. On June 26, 1876, Custer, a reputation for fearless and often reckless courage ordered his soldiers to drive back a large army of Lakota and Cheyenne warriors. By day's end, Custer and nearly a third of his army were dead.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The documentary focuses on 19th-century military history. There is no evidence of LGBTQ+ characters or narratives addressing non-heteronormative identities.
Gender Representation
The narrative centers on a military campaign led by male figures. Primary agency is held by male combatants, reinforcing traditional masculine leadership roles.
Racial & Ethnic Diversity
The film depicts a conflict involving Lakota and Cheyenne warriors. The focus on the U.S. military charge suggests a perspective leaning toward American military history.
Religious & Cultural Diversity
The film explores a foundational moment in Western expansionism. It follows a traditional historical recounting of a military engagement without explicit institutional critique.
Disability Representation
There is no indication of the inclusion of characters or individuals with physical or neurodivergent disabilities.
Strengths
Areas for Improvement
AI Analysis
This documentary functions as a traditional historical account of 19th-century warfare. The narrative is constrained by its period-specific focus on military maneuvers and the clash between the U.S. Cavalry and Indigenous nations. The film relies on a historically male-dominated, Western-centric framework. It prioritizes the military career and eventual defeat of General George Armstrong Custer rather than exploring diverse intersectional perspectives. While the subject matter inherently involves non-white populations through the Lakota and Cheyenne, the storytelling leans toward the perspective of the U.S. forces. It does not appear to actively disrupt traditional hierarchies.

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