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Everybody, Let's Go!
Movie

Everybody, Let's Go!

1967 • Unknown

Woke Score
1.2
out of 10

Plot

A new stationmaster is appointed to a dilapidated local line. On top of the failing local line feuding for hot spring customers with a bus company looking to start a new route, they even get involved in a disappearance and a murder...

Overall Series Review

The film centers on a new stationmaster fighting to revive a dilapidated local railway line against the threat of a rival bus company, with the struggle complicated by a disappearance and a murder. The core conflict is rooted in local economic survival and a traditional crime mystery. The narrative drive is purely classical, focusing on solving a crime and saving a community institution. Characters are defined by their professional competence, their integrity, and their connection to the locale. The drama does not use its characters or plot to engage in political commentary on identity, Western civilization, or gender theory.

Categorical Breakdown

Identity Politics1/10

The narrative focuses on a local economic and criminal struggle, judging the stationmaster and other townspeople solely on their skill and dedication to the local rail line and solving the mystery. The all-Japanese cast from 1967 adheres to the historical and cultural authenticity of the setting, with zero evidence of intersectional critique or forced diversity.

Oikophobia1/10

The plot's central theme is the attempt to save a 'dilapidated local line,' which represents a core, respected institution of the 'home' community. The story displays an inherent concern for the fate of a local Japanese town and its heritage (the hot spring and rail line), which aligns with the principle of gratitude and defense of local institutions.

Feminism2/10

As a 1967 Japanese mystery/drama, the film likely features men and women in traditional, complementary roles where women are key parts of the family and community fabric. While female characters may be strong or involved in the mystery, there is no evidence of a 'Girl Boss' trope, male emasculation, or messaging that attacks motherhood or family as a social constraint.

LGBTQ+1/10

The story is a straightforward local mystery and economic drama. The film adheres to the normative structure of the time, with no presence of alternative sexual ideologies, deconstruction of the nuclear family, or focus on gender theory as a thematic element.

Anti-Theism1/10

The conflict is centered on a crime and an economic rivalry, not on philosophical or religious critique. The moral weight of the disappearance and murder implies a search for objective truth and justice, which is consistent with an objective moral law, not moral relativism. No characters are depicted as bigots due to their faith.