There are well-timed mythological and metaphorical references in the visuals and the dialogues. The story questions the very idea of masculinity and asks uncomfortable questions – can a relationship last without physical pleasure? The purity in the equation between a single father and son too warms you instantly, they’re more like pals. Beyond the romance and this fluff, there’s enough substance in the writing. The film has a sluggish start in the initial 30-minutes – there’s a desperate effort to lend a likeable quality to the male lead and much time is wasted to establish the animalistic rage in Rayanam. The lead pair shares infectious on-screen chemistry – there’s madness, tension and mischief in their relationship. The girl is compared to the skies and the boy is equated to the seas – are they destined to unite? Uppena reminds a lot of yesteryear classics like Seethakoka Chiluka, earlier films of director Teja including Jayam, Avunanna Kadanna, and to an extent, the Marathi film Sairat, but the sincere writing and solid performances elevate the material by a fair distance.īuchi Babu Sana brings back the long-lost tenderness and innocence in romances in Telugu cinema. Uppena takes a leaf out of the Romeo Juliet-like universe where the social divide is the root cause of conflict in the relationship between a village leader’s daughter and a fisherman’s son. Rayanam is a man who holds his honour and power above anything else in life. Aasi has set his eyes on Bebamma since childhood and his joy knows no bounds when she reciprocates his love too.
He’s extremely protective of her but the girl is a free spirit and seeks joy in the little pleasures of life. At the other end of the village is a fisherman Jalaiah and his hot-blooded son Aasi. Kotagiri Sesha Rayanam is a no-nonsense, arrogant leader-like figure of the village, whose world revolves around his college-going daughter Sangeetha a.k.a Bebamma. Uppena is set in a chirpy-little village, Uppada, in the scenic locales of Kakinada.
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