Rulo, the middle aged man at the center of this story, has to deal with all the present realities his country is going through. His friend Torres, is instrumental in finding him a job in a building project as a crane operator. He must pass a medical examination that reveals he is suffering from a strange disorder that keeps him awake after awakening for any reason at night, and he is overweight.This man has a son, Claudio, that like most of the Argentine youths don't seem to have a clear future. He has a rock band, but he sponges from his father whatever the older man can afford to give him. Rulo, who is somewhat proud of what Caludio is trying to achieve because he, himself, had his own musical group in the 60s and was a minor celebrity. That is quite a contrast from the present circumstances.Adriana, the owner of a small kiosk where Rulo goes to get his lunch, feels an attraction for him. She remembers the band and how she used to follow him in her youth. Nothing comes out of this possible relationship because Rulo, after a month of working in the building, loses the job because of the medical report. Torres, his friend, tells him to go South, to Comodoro Rivadavia, where his friend Santori will give him a chance. That, of course, seems to be the end for Adriana and Rulo, as she lets him know when he is ready to depart.Rulo's luck runs out even in that remote spot when labor troubles at the place where he is working. He is once more defeated and calls his mother. He doesn't want to tell her the truth, but as he asks for Claudio, who by now is living with the grandmother, Rulo reveals the truth and that he has to come back to Buenos Aires again, defeated.Pablo Trapero's "Crane World" has a look that reminds us of Italian Neorealism. The film is shot in black and white. Mr. Trapero uses improvisation with excellent results. The actors used, with a few exceptions, are people from his neighborhood in Buenos Aires. The places that were used are authentic and that's why the film has such an impact because it feels real. One marvels at this director who was able to put together an important film with so little, yet the picture is true of the Argentina after the excess of the Menen regime where practically all the industry had been sold to multinationals and the middle class of the country, a majority, suddenly saw themselves move a few notches down in the economic ladder.Best of the film is the great contribution Luis Margani brought to the film. We believe he is Rulo from the moment he first open his mouth. For being a non professional actor, Mr. Margani carries the film on the strength of his magnificent performance. Equally appealing is Adriana Aizemberg, an actress that is another natural. Her Adriana is devoid of mannerisms matching the style of Mr. Margani. They make a wonderful bittersweet couple that must deal with reality to keep on living, yet, they are not embittered by what life has given them. Daniel Valenzuela, Rolly Serrano, Graciela Chironi and Federico Esquerro make valuable contributions under Pablo Trapero's direction."Crane World" is a slice of life as seen from Pablo Trapero a director who shows great integrity and presents us with his reality.

When this film was originally released I had the chance to see it on the big screen. It did have a rather limited release; it didn't have support from a private television station and exhibitors didn't have much confidence in it. No stars are in this film, only people who usually play supporting roles in soap operas or in the theater.But the results were first rate and eventually television made people aware of its worth. All of the actors are excellent and engaging. The black and white cinematography is terrific. The best Argentinean films were not photographed in color and this production is worthy of that tradition.Francisco Canaro's famous waltz, "Corazón de oro", is used as the film theme with great success. Although written in 1928 (reworking his unsuccessful 1925 tango "París"), his music emerges naturally as it was intended to be used in this film. Director Pablo Trapero did a find job, reediting Canaro's 1951 recording.The story of a nice guy whose youthful dreams were shattered and has to struggle with Argentina's crisis as well is still a very good movie.

That's really all one can compare this film with. One of those verbal slices of life that no one really listens to unless trapped in a moving car on a transcontinental highway about a hundred miles outside Albuquerque.Not that it's entirely boring. The script and direction are coherent, and the viewer can certainly identify with the main character as another poor schmoe who's been run over by life, with no way out. In a way, it elicits a positive reaction because Rulo, the fiftyish and overweight protagonist, never seems to lose spirit as he suffers one telling blow after another.As with many other recent films coming out of post-fascist South America, it is moreover revealing of the intense personal struggles these basically European people have faced as time continues to run against them in terms of their general redundancy within the context of a world economy.In a word, sad. But I would watch it again if only to find those small connections with a more universal meaning, like how important it is personally not to give up against great odds. For all his problems, Rulo still possesses the love of his friends, his family, and his sweetheart.

There are some moving scenes, and the characters seem to have some life in them, but overall this Boy-Meets-Job movie loses its way too often.Plot details that seem important are never mentioned again. Relationships are neither clarified nor advanced. People seem to be struggling, but it's unclear what they're struggling against. It's an interesting mess, but a mess all the same.