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About Love story Movie 



Written by : Sekhar Kammula

Directed by : Sekhar Kammula

Music by : Pawan Ch

Starring : Naga Chaitanya, Sai Pallavi

Release date : 24 September 2021

Running time : 165 minutes

Language : Telugu

Country : India




Storyline of Love story Movie 


Our hero Naga Chaitanya is a young fellow from a lower position who left the town and came to the city to attempt to begin a Zumba dance/wellness studio. Our champion Sai Pallavi is a young lady from a decent family in a similar town who is frantic to get a new line of work and remain in the city yet battles with tension. She is remaining with a next companion entryway to Chai. They battle, make-up, lastly she uncovers her astonishing dance capacity. He implores her to be his accomplice in the Zuma studio, and she concurs. They gradually become hopelessly enamored as they cooperate and construct their business, until they have a major battle since he stood her up one night when she welcomed him over. In the battle, she kisses him. And afterward they are infatuated. Be that as it may, there is a significant issue, since they are from a similar town and she is from the landowner's family (albeit a disliked girl of a more youthful child) and he is a low rank Christian. Then, at that point, one more two or three they know bites the dust (him killed by her family, her self destruction after his demise) and it makes them see the dangers. They conclude to take the necessary steps to be together. They sell their business, and he moves to Dubai to do physical work and set up a good foundation for himself while she returns home to the town. Following a half year, they plan that she will counterfeit her self destruction however come to wed him and afterward they will reside Dubai where nobody can find them or hurt them once more. Really at that time she doesn't appear for the wedding. He returns to the town to view as her, and she at last admits that her strong uncle assaulted her when she was a young lady. He is a pedophile. To that end she has been so damaged and restless constantly. What's more, she wouldn't even come close to leaving the town and leave her younger sibling unprotected. Chai says they can't reside this way and supports her in returning home to come clean with her folks. Her dad faults her, however her mom upholds her and advises her to take off, she will safeguard the sister. Chai and Sai Pallavi go on the run and it appears to be irredeemable, until Chai says they will return and stand up to the uncle. He kills the uncle and is expeditiously captured. And afterward in one freeze outline toward the end we hear that the court pronounced him honest and acting justifiably.

In this way, that finishing SUCKS. How about we move that first and foremost. Furthermore, I'm almost completely certain it was a consummation constrained by Coronavirus. Recording was around 2/3rds finished back in 2019. And afterward the last third hauled out over curtailed plans with restricted cast individuals, etc. The completion the way things are could work, on the off chance that we got a brief court scene, laying out that their companions energized to their help, they had a great legal counselor, the papers were behind them, and afterward we see Chai delivered after the blameless decision and him and Sai Pallavi embracing and perhaps a wedding over the end credits. Not substantially more screen time, not even that costly. Be that as it may, it would mean something like 200 individuals inside in a restricted court set without covers. Furthermore, I'm speculating that was simply impractical.

Hell, there might have been a more extreme contrast. Perhaps the completion should be some huge battle scene in which the underclass of the town faced the overclass for the last time and it wasn't all on the couple. Rather than 4 individuals on a faintly lit rooftop set and a speedy battle scene. I assume I likewise read that their Dubai shoot was stopped, I could without much of a stretch accept the film should accept them to Dubai, joyfully, and really at that time would she have a good sense of reassurance enough to come clean with him and he would urge her to document a police report against her uncle.

I won't examine the closure exhaustively or fault anybody for it, since I genuinely think it was beyond their control. Overall however, the completion was the ideal finish of the message of the film. We expected to see a lady and a lower class/station man joined together and battling together against settled in powers, and eventually succeeding. This is a film about coalitions between the persecuted and the force of that.

"Who is more regrettable off?" is a typical civil rights question in each general public. What's more, it is NEVER helpful!!!! The inquiry you ought to present is "Who is best off?" and simply center around that. Sai Pallavi's uncle in this film is annihilating EVERYONE'S life. He is keeping Chai and his mom and companions in crushing neediness. Also, he is keeping his own sibling's family in wretchedness. Also, he is bringing the most terrible grotesqueness downward on the unprotected young ladies in his loved ones. That is what's going on with this film. The force of adoration is to allow them to impart their story to one another, and at last perceive how they are indistinguishable, not unique.



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He attempts, overall quite well and understanding, to show us the world for what it's worth. Revanth (Naga Chaitanya) is an independent man who runs a Zumba focus, and is glad for that reality. Mounika comes from a position of riches and social honor, yet she has her own evil spirits to battle. Like any great sentiment, the film spends a significant lump of the screen time on their relationship — how it starts, sprouts, and blooms. However, is that adequately not? Two individuals enjoying each other enough to need a coexistence? It isn't and the remainder of the film attempts to reply, or rather question why.

Kammula's characters have never been awesome. In any case, the imperfections of the characters in this film are substantially more than entertaining peculiarities, suitably so. The young lady who you love and who loves you back is as yet molded to think a specific way, regardless of whether she says something else. Mounika has a similar extravagance to be oblivious and credulous as Jo from Pariyerum Perumal does. Yet, rather than keeping her that way, the composing attempts to add shades to her. She isn't the most terrible of them, yet she isn't the best by the same token.

I wish this point was investigated a smidgen more, yet Pallavi is arrestingly great at playing this individual. I realize I should express more than she illuminates the screen when she comes, yet that is precisely exact thing she does. Regardless of whether she is drying her hair in the open, her corrupt way awakens the platitudes, and causes them to feel unique. To show the crowd the aggravation that is stewing inside the person, without truly showing it as late as possible, is an equilibrium that is difficult to strike.

Yet, the film is Chaitanya's to take. He conveys Revanth effortlessly and certainty. Furthermore, on the grounds that it is Sekhar Kammula, the person is definitely not a simple format. He has his convictions, however he twists on occasion. He flies off the handle when somebody affronts him, however he isn't permitted to transform into a furious young fellow. Furthermore, it is at these times of uncertainty and disappointment, we see the entertainer sparkle. At the point when Revanth is harmed and disheartened, we can feel his hurt. It is ideal to see him at long last figure out how to break the hindrance.

It is difficult to talk about his personality without interfacing it to his mom, played successfully by Easwari Rao. Most movies compose moms who are from a lower layers as submissive and effortlessly satisfied creatures. Here, the mother is the ethical focal point of the film. She is the person who advises her child what to examine while searching for segregation and extremism. She is the person who drives him to expect regard from a general public that gives nothing to individuals like them. Their relationship is the most fulfilling part of the film.

Courageous woman moving in the downpour is a Sekhar Kammula staple. We have all acknowledged it, and we even snicker about it. But since Mounika is a moderately more mind boggling and upset character, the differentiation assists us with figuring out why the staple exists. Downpour melodies, in different movies, are a chance to tantalize the watcher, and to support the crepe silk industry. Yet, in Kammula's movies, they are a reprieve. Our most memorable sense when we see downpour coming is to stow away or cover, yet on the off chance that a lady invites the downpour with open hands, it infers she is worn out on stowing away/covering herself. It likewise allows the watcher an opportunity to perceive the truth about this person, without everything that are cutting them down.

Discussing melodies, I would have cheerfully forfeited 'Saranga Dariya,' in spite of the delight that comes from watching Pallavi challenge gravity, on the off chance that it implied a pre-peak that isn't surged. The film verges on pulling a Dear Confidant, and that is simply unsuitable. In the event that I sound like I am whining about the quantity of tunes, I'm not. Pawan Ch's music brings the story alive. Particularly the foundation score. It imitates the pulses of a person in a strained second, and it supplements the spring in the legend's means when he is blissful, and it does this without focusing on much itself. However, that is the problem. We maintain that movies should naturally investigate a relationship and individuals in it, however time is consistently an imperative. I comprehend that the melody isn't a guilty pleasure. We expected to see her blissful on the grounds that she is, and she is seldom permitted joy. Be that as it may, we additionally need the more significant parts of the film since its getting late they merit. The slip-ups are reasonable, yet they are still mix-ups.

Marthand K Venkatesh's altering and Vijaya Kumar's cinematography are expectedly useful. The remainder of the cast, including any semblance of Rajeev Kanakala, Uttej, Devayani, and Ganga Avva, do precisely exact thing they should. Indeed, even the side-kick/closest companion character is successful. He additionally wears shirts with senseless words composed on them in Telugu, yet we are not compelled to giggle at them. They are there, and they truly do let something about that character know if the watcher has any desire to be aware. Actually that basic.

Somebody I know said recently that in spite of their verse and profundity, Sekhar Kammula names his movies in a somewhat conventional way, Godavari being the special case. I concurred, and I said that Romantic tale is one of them. In any case, it says nothing specific regarding the film, and it isn't vital in. Yet, while watching the film, I have seen how the several beginnings tending to one another in texts, after their common admission of adoration, and I have understood that perhaps it is deliberate. There are just such countless ways of tending to somebody you love, and regardless of whether a word like 'Bangaram' is a messy platitude, when it at last carries out of your tongue to call somebody you love, it seems like you have designed it. Whether it is Qutub Shah swimming across Musi, attempting to meet Bhagmati, or a person like Revanth essentially laying a board to overcome any barrier between Mounika's home and his, it is undeniably finished for the sake of affection. Also, they are all romantic tales.