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Love is a Ball

Name: Love is a Ball
Director: David Swift
Released: 1963
Duration: 111 min

Representation Score

2.7/10

Limited

1963

Director

David Swift

Runtime

111 minutes

Average Rating

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New Showbiz Analysis

Love is a Ball operates within the social and romantic norms of the early 1960s. The plot revolves around class-based maneuvering and the transactional nature of marriage between titled men and wealthy women. The film adheres to the era's genre conventions and Eurocentric themes, lacking significant disruption to established cultural or gender norms.

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Category Breakdown

Does Love is a Ball have LGBTQ+ representation?

Limited

The film focuses on traditional heterosexual relationships and does not include any characters with LGBTQ+ identities or critiques of heterosexuality.

How does Love is a Ball portray gender?

Fair

Women are often portrayed as objects of marriage to secure social standing. Millicent shows some independence by choosing her own partner, but the story still emphasizes traditional gender roles.

How racially and ethnically diverse is Love is a Ball?

Limited

The film's setting and aristocratic characters suggest a predominantly white social environment. There is no indication of multi-ethnic casting or diverse racial backgrounds.

How does Love is a Ball represent religion and culture?

Limited

The story upholds traditional Western aristocratic values and social hierarchies without challenging them as oppressive systems.

Does Love is a Ball include disability representation?

Minimal

There are no characters with visible or invisible disabilities mentioned in the narrative.

Present on Screen

Millicent shows some independence by choosing her own partner.

Limited or Absent

The narrative relies on a transactional view of gender and traditional social hierarchies.
The setting and character archetypes suggest a lack of racial and ethnic diversity.
The plot functions within a strictly straight-centered framework without exploring diverse identities.

Official Synopsis

Etienne makes a good living out of marrying off poor but titled young men to rich but untitled young ladies. Millicent is now in his sights on the Riviera, and Grand Duke Gaspar is the bait. But what if Millicent starts to fancy planted chauffeur John instead, and Gaspar takes a shine to Etienne's secretary Janine?

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