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Los verduleros
Movie

Los verduleros

1986 • Comedy

Woke Score
1
out of 10

Plot

The adventures of two friends, one a chicken vendor in a market and the other a policeman. They have love affairs and capture criminals.

Overall Series Review

Los verduleros is a 1986 Mexican comedy and crime film focused on two male friends—a chicken vendor and a policeman—who solve a murder and expose high-level corruption. The narrative is a straightforward story of working-class people fighting local crime and corrupt officials. The plot prioritizes justice, merit, and traditional heterosexual relationships, concluding with the protagonists' promotion after capturing the criminal commander and one of the friends marrying his partner, who was recently widowed by the gang. The film demonstrates a classic structure where objective good (justice, honesty, family) triumphs over objective evil (extortion, murder, corruption). The themes and structure are entirely pre-modern-ideological, centering on community defense, professional success, and the formation of a new nuclear family.

Categorical Breakdown

Identity Politics1/10

The plot centers on meritocracy, as the main characters—a vendor and a low-ranking policeman—are judged by their actions in capturing a corrupt commander and are subsequently promoted. The conflict is defined by class (market vendors vs. criminals/corrupt officials) and not by race or intersectional hierarchy. The casting is colorblind/ethnically authentic to the setting, without political lecturing or vilification of any ethnic group.

Oikophobia1/10

The narrative is deeply rooted in the local community of the market and the city's police force. The film’s focus is on defending one's home and community from external threats (extortion) and internal corruption (the commander). The film views institutions (the police, marriage, community) as forces for good, upholding the virtue of justice and respecting the sacrifices made by the community members.

Feminism2/10

The core of the female storyline involves a woman who is widowed and then finds a new husband in the heroic protagonist, resulting in marriage. The dynamic is complementarian, with the male characters serving as protectors and crime-fighters while the female characters are tied to home, business, and romance. The film's use of 'love affairs' and 'vedettes' (actress-dancers) suggests a sensual vitality, but the ultimate resolution is the traditional formation of a new family, not the pursuit of an anti-natalist 'Girl Boss' career.

LGBTQ+1/10

The story adheres to the Normative Structure, with the 'love affairs' being strictly male-female, culminating in a heterosexual marriage. The nuclear family is presented as the standard and desired outcome for the protagonists. There is no presence of alternative sexual ideology, queer theory, or any deconstruction of biological or familial reality.

Anti-Theism1/10

The moral framework is one of Transcendent Morality, where crime (extortion, murder) is objectively evil and justice is an objective good worth fighting for. The protagonists are rewarded for upholding this clear moral law. The film is a crime-comedy and does not contain any hostility toward religion or any specific religious tradition, operating on a simple good-vs-evil dynamic.