
When the Pheasants Pass
1965

1963
Director
Paolo Heusch
Runtime
105 minutes
Average Rating
No ratings yetSynopsis
The retired general Antonio Cavalli is a nuisance to his family: to his wife Francesca who still works, to his son and to his daughter-in-law. Then he finds a job in a building firm. Only by chance Cavalli finds out that his salary is paid by his wife to keep him busy. But the general is well known as a very reliable man, and Sandrelli, the firm's owner, uses him and his name to win a valuable contract. When Sandrelli is arrested, the general finds the money to honour his debt but he is robbed while he is going to the bank...
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film lacks any evidence of LGBTQ+ characters or non-cisnormative identities. The narrative focuses entirely on traditional domestic and familial structures.
Gender Representation
The story centers on a patriarchal figure whose loss of status provides some comedic subversion. While the wife demonstrates economic agency, power dynamics remain rooted in conventional hierarchies.
Racial & Ethnic Diversity
The setting appears localized and homogeneous, reflecting the cinematic norms of its era. There is no indication of a multi-ethnic cast or diverse racial representation.
Religious & Cultural Diversity
The plot explores class and economic stability through themes of employment and debt. It treats these disruptions as comedic drivers rather than systemic critiques of Western institutions.
Disability Representation
There is no mention of physical or neurodivergent disabilities within the narrative context.
Strengths
Areas for Improvement
AI Analysis
The Commandant is a mid-century comedy that operates within traditional social frameworks. It relies on established hierarchies rather than attempting to deconstruct them through an intersectional lens. While the film offers a minor subversion of masculine competence by portraying a retired general as a domestic nuisance, it lacks depth. The narrative remains anchored in conventional social and economic structures of the period. Ultimately, the film functions as a standard period piece that does not actively seek to challenge or represent marginalized identities.

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