
Moran of the Marines
1928

1928
PassedDirector
Howard Bretherton
Runtime
60 minutes
Average Rating
No ratings yetSynopsis
Brothers Hugh and Dan Clayton are both in love with Phyllis, their father's secretary. She finally chooses Hugh, and they marry before he joins the army and is sent overseas as a fighter pilot. He is shot down in a dogfight, crashes and loses his memory and drifts around Europe. Years go by, and Phyllis decides to try to find him in France before consenting to marry Dan, who still loves her. Complications ensue.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film focuses on a traditional romantic triangle centered on heterosexual attraction. It lacks any evidence of non-cisnormative identities or critiques of heteronormativity.
Gender Representation
Phyllis drives the central conflict through her romantic choices. However, her agency is defined by her relationships with two men, adhering to period-specific domestic tropes.
Racial & Ethnic Diversity
The narrative is Western-centric, set within American and European contexts. It appears to reflect the homogeneous casting norms of 1928 Hollywood.
Religious & Cultural Diversity
The story follows conventional Western narrative structures regarding military service and romance. It emphasizes individual resolution rather than questioning social hierarchies.
Disability Representation
Amnesia serves as a standard plot device to facilitate a romantic trope. There is no nuanced exploration of cognitive disability or neurodivergence.
Strengths
Areas for Improvement
AI Analysis
Across the Atlantic is a conventional romantic drama that adheres strictly to the social and narrative hierarchies of the late 1920s. The plot relies on established tropes of the era, such as the romantic triangle and the 'lost and found' hero. The film lacks intersectional representation, focusing instead on a Western-centric story of military service and marital stability. While the female lead exercises choice, her character arc remains tethered to her suitors. Ultimately, the film functions as a product of its time, reinforcing standard romantic and social norms without attempting to subvert them.

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1926

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1931

1948
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