
Το Κοροϊδάκι Της Πριγκηπέσσας
1972

1963
Director
Giannis Dalianidis
Runtime
89 minutes
Average Rating
No ratings yetSynopsis
Lakis (Dinos Iliopoulos) has to make sure that his three sisters are married before he can marry his beloved Lela (Martha Karagianni). While at the beach, Eva (Zoe Laskari) and Maria (Hloi Liaskou) will meet Kleopas (Costas Voutsas) and Giorgos (Vagelis Voulgaridis) with whom they will start dating. But Rena (Rena Vlahopoulou) has a secret relationship with Thodoros (Giannis Vogiatzis) for 10 years.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film focuses entirely on heteronormative courtship and romantic pursuits. There is no evidence of non-cisnormative gender identities or same-sex intimacy within the narrative.
Gender Representation
The plot is driven by patriarchal domestic requirements, where the male protagonist must marry off his sisters to secure his own romantic agency. Female characters primarily serve romantic arcs.
Racial & Ethnic Diversity
The production reflects the demographic homogeneity of mid-century urban Greek society. It lacks non-white casting or the intentional blending of diverse ethnic identities.
Religious & Cultural Diversity
The narrative celebrates social cohesion through marriage and traditional courtship rituals. It emphasizes the importance of the family unit without critiquing religious or social institutions.
Disability Representation
There is no visible or documented evidence regarding the representation of physical or neurodivergent disabilities in this production.
Strengths
Areas for Improvement
AI Analysis
This musical comedy serves as a cultural snapshot of 1960s Greece, prioritizing traditional social structures and familial obligations. The narrative architecture reinforces the era's domestic norms rather than challenging them. The film relies on conventional romantic pairings and patriarchal hierarchies to drive its plot. While it captures a specific period of Hellenic culture, it lacks intersectional breadth or representation of marginalized identities. Ultimately, the work functions as a celebratory piece of mid-century entertainment that adheres strictly to the established social mores of its time.

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