Cautions: some violence and intensity, some ethical confusion, and mild sensuality
Shane is a stranger, and a strange man to be a hero. He rides into the middle of a range war provoking questions about his past, his purpose, his plans for the future, and leaves most of the questions unanswered. He’s a loner, without store-bought clothes, but he can dance country dances, and he’s willing to stay and give his all for men who aren’t even sure they want to stay, themselves. Shane knows how to avoid a fight, and Shane also knows how to fight. And just like a hired gunman, he’s fast—fast on the draw.
1953 | George Stevens | 118 min Watch Trailer
Some Violence and Intensity
Characters, including protagonists, are shot and killed, sometimes in a personal, ruthless way. There is very little blood.
Characters fight and are beat up.
Some Ethical Confusion
Characters deem it cowardly and disloyal to one’s neighbors to give up a claim and head back east, even or especially when the bad guys are attempting to take over with violence. Some of the characters suggest that private property is worth dying for.
Shane says that “a man has to be what he is… Can’t break the mold.” This could be taken as a form of fatalism, though not necessarily intended as one.
A married woman struggles against mild romantic tension with another man. She is never unfaithful to her husband in word, deed or presumably even in thought, and the temptation is intended to cause discomfort to the viewer as well as to her. This is ultimately resolved.
Couples dance, with mixed married and unmarried dance partners.
A married couple kisses.
A man is briefly shown shirtless in the context of hard physical work. A female character is present, but nothing is made of this.
Bad guys and a minor protagonist abuse alcohol, and are all negatively portrayed for it.
“Gosh,” “by Godfrey,” “Gosh o’mighty,” and “by Jupiter” are used once each.
A little boy is occasionally less than respectful to his parents.