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There is no reason for a rich boy to love a poor girl. Caste, religion, property, and class are all story objects for love. There have been countless love stories happening as a result of these differences and the stories keep coming.
It must be said, however, that love stories that expose an aspect of our human nature do not occur extensively throughout these movies. I enjoy a love story that touches on the importance of caste and reputation, and how this can come apart from the love for a particular creature in general.
If Jalayya’s son becomes the son-in-law of the landlord Rayanam Gari, why do you think Jalayya would. But how does the son-in-law of Rayanam become Jalayya’s son? That is a very sensitive question that the film ‘Uppena’ addresses in that movie. Ashi (Vaishnav Tej), son of Malaysia, a fisherman on the Uppada coast.
The landlord is Rayanam’s (Vijay Sethupathi) daughter, Sangeetha, who is commonly known as Bebamma (Kriti Shetty). As if the 130-year-old tradition offered by her grandparents is losing its dignity because of a daughter who is 18 years old, Aashi and Obama fall in What a disgusting decision Rayanam could not save is the ‘surge’ movie.
There’s No Love Like Brahma, but it makes sense that you serve it, just as if it has been served. I think that’s the backbone of all those stories you hear about love, and the struggle between you and your love.
It matters a great deal on how well they are shown. Hero Vaishnav Tej, heroine Kriti Shetty, and director Buchibabu Sana made their debuts in the film ‘Uppena’. Despite the absence of this feeling, one is clearly aware that a new director, a new hero, a new heroine is about to emerge for our entertainment.
Director Buchibabu tells a story as pure and pure and beautiful as the pure sea air. The first film he made showed he is a director with a good vision.
We captured our real lives. the emotions we experienced in them he tried to bring the circumstances around us to life on the screen as a movie and give the clay a pure fragrance.
What can we do to limit the surge brought by the coastal winds flowing into the ocean? Is the touch of love not enough for a lifetime. The message is given here as persuasive. However, the question here is how the message will be received.
There is a distinction between being masculine and being between two legs. If a girl can be happy with the boy she loves, that is being masculine. He is good enough. The director has ended the story. I think that there is no need for anything else in the world other than masculinity. Look, Magadi is not an organ in any corner of the body. He is just masculine.
Further, the director who started his flood story with a tragic episode also flashed back to the past of caste and reputation in the background of the story as the story progresses. Motifs from everyday love stories appear in front of our eyes.
There is something quite unique about the scenes, such as falling in love with a young woman who was living alone and fleeing in the face of an adult. But the director at the helm sets the characters in an entirely different light and makes them feel quite unique.
Although this story is a fairly routine one, the director has successfully crafted the narrative, the words, and the direction so that it works well together. I have particularly enjoyed the dialogues. a close and sympathetic feeling, along with emotions like “I don’t think you can touch the air, but if you cannot, you will die.”
By writing scary dialogues, the director succeeded in showing that he also has the empower to write a great movie, regardless of the fact that the story doesn’t matter. Every movie is always about love in history
Convincingly shown that love is not handicapped by the tragic end, and godliness does not sever the ties between the character(s) and their universal love for each other. A persuasive approach takes on the right tone. However, indifferent audiences there are distinct points of view. Being a routine story it can feel frustrating that the ‘surge’ didn’t get the proper fulfillment.
Moreover, when it comes to performance, it is not just the heroes of the big family, but also the new heroes who are difficult to find perfect actors. The result is, many of our Hollywood gems are still falling under the mark for perfection in actors or actresses if one takes time to see two or more movies.
This is not an exception for a mega family hero, but Vaishnav Tej from that family received a perfect character in his first independent film through this film. He played a challenging role, while still getting a breakthrough. Call it the Perfect Launch. There really is something unknown spark in his eyes. There is a good base in the voice.
Kritishetti is a new mother. She is the main character. She sank down as the heroine. Her climax scene is convincing to the audience, and that credit goes to Kritishetti. There was a lot of freshness in the picture. I have lived in emotional scenes.
In a romantic scene, her laughter left the one-eyed boy’s eyes glazed over-impressed even in longer scenes. I would like to draw your attention to the scene where the hero and heroine spend time alone in the middle of the sea.