A This paper focuses on the problematic relationship between the main characters of Gracias por el fuego (1964), Edmundo and Ramón Budiño, father and son. One is powerful and corrupt; the other, deeply rooted in his inner contradiction of hatred towards his parent, accepting, however, his money to thrive. Obsessed with eliminating Edmundo, only love can save Ramon. When this option fails, the character is led to a tragic end. From an allegorical perspective, this conflict is interpreted as reflecting the links between upper and middle classes in 1960s democratic Uruguay, which apparently meant well-being, but plunged the country into a deep existential crisis.
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