Vino el remolino y nos alevantó

Set in the aftermath of Mexico's Revolution, the film tracks a middle class family in the capital as political and social upheaval shreds their comfortable routine. Three generations who once relied on custom and steady routines find that loyalties, livelihoods and plans no longer hold. As men go off, rumors spread and old protections fade, relatives are forced to scatter and rebuild in unfamiliar places. The story stays close to domestic moments, showing how public events ripple into private lives without revealing later reversals or final outcomes.

Released in 1950, the picture was directed by Juan Bustillo Oro from material by Mauricio Magdaleno. Its ensemble includes Miguel Ángel Ferriz Sr. as Don Patricio Ramírez, Carmen Molina as Toña Ramírez, Beatriz Aguirre as Adela, Luis Beristáin as Alejandro Ramírez, and Emma Roldán as La generala, reflecting a roster of established Mexican screen performers of the era.

Box office records for many Mexican films of this period are scarce, and this title's commercial reach isn't well documented. Domestic distribution would have been the primary market, with limited export outside Spanish speaking countries, so any theatrical earnings were likely modest by international standards.

Critical reaction has tended to be mixed, and contemporary viewer tallies give it an average around 6.0 out of 10 from a small number of votes. Reviewers and viewers often point to strong, grounded performances and the film's focus on family ruptures, while noting a sober, sometimes measured pace. Central themes include the social cost of conflict, the erosion of class stability, generational strain, and the everyday endurance required when public violence reshapes private lives.

Within Mexican cinema that addressed Revolution and its aftermath, this film occupies a quieter place, valued for its intimate domestic perspective rather than grand spectacle. It turns attention toward household consequences and character detail, so it still comes up in discussions of mid century historical dramas and how filmmakers treated the Revolution's social fallout.