At one point at UPPENA, Bebamma (Krities Shetty) calls Aasi (Panja Vaishnav Tej) A Corpus Spongiosum. It is something that almost all women on the screen want to tell men in their lives. It is loosely translated into, “You are D * CK”.
However, at UPPENA, this is a dear term and not an insult.
This is one of the many pleasant found surprises in this film. Although the basic premise of uppena can remind us of Seenethakoka Chilaka, four decades (1981), Buchi Babu brings quite a lot of information to keep the trial fresh.
For love stories that want to be one epic proportion, it is anger that encourages uppena. Aasi is a ‘young man who is angry with a golden heart’. Father Bebamma Rayannam (Vijay Sethupathi) is a heretic and classical older man.
But finally redeemed himself with his anger explosion. These are the most exciting parts because the central love story requires a certain leap of faith.
The romance between star-cross blossom lovers through sweet Nothing and blackouts meets charming:
This is a kind of love where sparks fly when the body touches when riding a bicycle. The type of love where someone saves sand from their first date.
The type of love where the words “I love you” are written as “love me” because even ‘love’ shouldn’t come between them! While all this might not have to warm our heart scallops, it managed to leave us with a smile.
It also helps the extraordinary visual shamdat serves as a beautiful accompaniment for the Devi Sri Prasad killer album. Through the songs, we wear with a life of Bebamma and Aasi. Total points to Krithi to walk on the right side of the thin line between innocence and annoying.
Vaisshnav made a decent debut, not too easy to oscillate between naivety and anger. He especially mentioned writing and performances in the Aasi scene with his father (impressive Sai Chand). Considering his role trajectory, it was pretty impressive that Vaisshnav Tej chose uppena as his debut.
While the innocence of lead is initially contagious:
There is only so much to carrY their charm. Sail through the kindness of Sakarin. And boys, did he give. Rayannam had to keep the pride of the Casteist by separating lovers. He also had to fulfil his classic / capitalist dream to build a fishing page. With the last that, the world of Rayannam and Aasi collided at several levels.
Writing Buchi Babu and Performance Vijay Setupathi ensure Rayannam is not a cardboard criminal. The tea has less sugar, and when asked if he wants fresh drinks, Rayannam asks for sugar. He appeared in his mouth, drank tea, and said something on the line, “Why throw something just because it’s not for us …”
It summarizes the type of person Rayannam – his anger is not blind, measured.
This characterization applies to the strength of Vijay Setupathi, who likes to carry nonchalance to its role. Even though the point of talk from uppena will be a climax disgust. It impresses how organic the lead to the scene is felt.
Buchi Babu did not put all the stakes on the climax. And while various problems are discussed through films. It is toxic masculinity primarily intended at uppena. Malayalam cinema has issued several solid films on the road and is happy to see Telugu’s cinema dipping her fingers into the topic of such a hot button.
We may have seen the soft hero pronounced earlier in Telugu films, but recently is the idea of being questionable masculinity. For the industry built on Machismo, uppena is an essential and original film. This film makes women look at the men in their lives and talk about them being spongiosum corpus running. Well, it’s a big wave of change.