Plot
The film starts with news reporter Jose Antonio Pupo (played by Carlos Vives) interviewing a man after the movie events had taken place. This gentleman who is also a tenant reveals to the journalist how the material house where the tenants lived for so many years was taken to a different place by rudimentary but ingenious means.The man's story entangles with the depiction of the events.
The house is an old one and it is home of different kinds of people. All of them are humble and from a diverse background. They are told to leave the house because its owner, a rich obnoxious man from Bogota's exclusive area, has new plans with it. The tenants are confronted with the authorities who are trying to kick everyone out of the house. The tenants decide to take a stand by locking doors and shooting the policemen that try to carry out their orders.
After this confrontation the tenants are given more time so everyone in the house has enough time to find a new place to live. The tenants are legally represented by "Perro" Romero (Frank Ramirez)(who is extremely annoyed by anyone using the nickname "Perro" meaning dog). Romero is a man with some academic background and has the means to deal with the authorities and Dr. Holguin's (the house owner) lawyers.
Dr. Holguin uses dirty tricks to create pressure on Romero to the extent that he is kidnapped and beaten by Dr. Holguin's men. Meanwhile at the house Jacinto (played by Fausto Cabrera) an intellectual and rebellious Spaniard devices a way to remove everything inside the house (walls, windows, bathtubs, kitchens, toilets, roofs, etc.) and have all that moved to a piece of land located at the hills in western Bogota. Jacinto shows "Perro" Romero how it can be done by the use of a rope and pulley, he does it by demonstrating him how the pulleys and ropes are used in theatrical stages to lift very heavy weights, he does this at the stage of the Colon theater.
Jacinto is able to convince the rest of the tenants so everyone becomes a team player and helps in the construction of a tall wooden tower that would help move everything to another house couple of blocks away.
As the house is being dismantled by the tenants Misia Triana (played by actress Delfina Guido) finds accidentally the silhouette of virgin Mary in a wall. Misia Triana a very religious lady who was the fiercest opponent of Jacinto's project finally agrees by conditioning him to have the virgin moved first.
After going through a series of events and hazards the tenants are able to remove all the insides of the house, but in order to gain more time Romero tells Victor Honorio Mosquera (Dr. Holguin's lawyer played by Humberto Dorado) that the tenants wanted to paint the house as a way to apologize for any inconvenience they might have caused to what Mosquera agrees.
As the deadline approaches the tenants have removed everything inside the house and had moved it to the hills by using animal traction vehicles, informally known in Bogota as zorras. By the time lawyers, policemen and Dr. Holguin himself eagerly approach the house to witness that the tenants have actually left they are surprised by a huge explosion and the collapsing of the house's facade. After the dust and debris have dissipated they find a house painted in a wall with a graffiti style writing superimposed that reads "AHI TIENEN SU HIJUEPUTA CASA PINTADA" or "there you have your fucking painted house."
The movie goes back again to news reporter Jose interviewing the man who is finally upset by a reporter's question and so he leaves the scene. Finally the tenants are shown gathered in one of the hills with a panoramic view of Bogota and a Colombian flag can be seen waving.
Read more about this topic: La Estrategia Del Caracol
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Famous quotes containing the word plot:
“But, when to Sin our byast Nature leans,
The careful Devil is still at hand with means;
And providently Pimps for ill desires:
The Good Old Cause, reviv’d, a Plot requires,
Plots, true or false, are necessary things,
To raise up Common-wealths and ruine Kings.”
—John Dryden (1631–1700)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“There comes a time in every man’s education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better for worse as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given him to till.”
—Ralph Waldo Emerson (1803–1882)