Mundo grúa is a 1999 Argentinian film by Pablo Trapero. Its name is translated into English as Crane World.
The film is dedicated to a story of Rulo, the former rock musician, who at 49 still has not found his place in life after quitting the music. He is still sometimes recognised by new acquaintances because 20 years earlier he was in a moderately famous rock band however that does not benefit him financially. In the beginning he is engaged as a crane operator apprentice. While he learns the skills required for his future job he also has to cope with his unruly son Claudio. The latter also has a band and wants to become famous in his own right. He also tries to carry on the romance with a small shop owner, Adriana.
Later it turns out that he is not accepted as the crane operator- supposedly due to his big belly which makes him overweight. His friend then finds him a job as an excavator operator far away in the Argentinian South. Rulo sets out after a bitter good-bye from his new girlfriend. When he arrives everyone treats him kindly and he starts his work. Soon it turns out that the workers are malnourished because the enterprise does not always provide them with food during their shifts. Soon Rulo quits this job in the remote area and sets out for Buenos-Aires.
An important unseen character in the movie is a late-90's Argentinian financial crisis which permeates the lives of the characters.
Tropes
- Crapsack World: Interestingly zigzagged. It is set during the Argentinian economic crisis however onscreen it does not feature a single mean person. People are fairly gentle, definitely non-aggressive (bar for the brawl on the rock concert). Still they lead hard lives.
- The officials of the firm in Patagonia who don't cater to their workers properly remain offscreen. Also the workers are allowed to go on strike, no-one bullies them. Still they sometimes are not fed during their shifts.
- Deliberately Monochrome: It is made in 1999 so its B&W quality is a definite aesthetic choice.
- Fan Disservice: Rulo who is very often shirtless when at home. He is also 114 kilo heavy.
- Glory Days: Rulo was in a second tier band. Therefore quite a few people remember it and either recognise him or don't but know his band. In the latter case they cannot believe he is that musician.
- The Great Depression: Late 90's Argentine style.
- I Was Quite a Looker: Rulo was 20 years ago in his rock band days.
- Like Father, Like Son: Both Rulo and Claudio rock musicians although Rulo has already given up his ambitions.
- Also Claudio has a brawl at his own rock concert and Rulo tells him a somewhat similar story. He once fell off scene, hit the guy with his guitar, climbed back and continued playing.
- Italian Neorealism: Argentinian style. This movie is very reminiscent of 40's Italian cinema.
- Reportedly many extras were amateurs.
- No Antagonist: Except for the Argentinian economy and financial crisis. All humans onscreen are more or less nice or at least polite and do not commit anything villainous.
- One-Hour Work Week: Decisively averted. Rulo does not work however he learns how to operate a crane and several scenes are dedicated to that.
- Parents Walk In at the Worst Time: Interesting example. Claudio finds a girl at the rock concert of his band and brings her home. Then Rulo returns and sees them together. Claudio manages to convince him to give them half an hour so Rulo agrees and leaves. However returning he demands Claudio to quit. Then he immediately brings Adriana to his house. This implies that he was rather annoyed that his offspring brought a girl to his house, not he himself his own girlfriend
- Put on a Bus: Rulo does exactly this to his unruly son when the latter annoys him too much bringing a chance girl home. The boy however does not go far away, landing at his gran's.
- Switching P.O.V.: Most of the time Rulo is the main character but some scenes suddenly treat Claudio as such.
- Walking Shirtless Scene: The is what Rulo is when he stays at home. It is definitely Fan Disservicey
