A typical line one hears in discussions about Telugu films goes 'asalu, story enti?' (What's the story?) Wish somebody in the center group of Touch Chesi Chudu had made that inquiry, strongly, while making the film. In the event that somebody had suggested that conversation starter and it had fallen on sensible ears, we would have been saved of this tiring 146-minute adventure of scenes haphazardly hung together.
Watching Touch Chesi Chudu is a vitality depleting exercise. One doesn't take Ravi Teja style of mass masalas too genuinely and search for rationale. So it wasn't about a scan for cerebral film. His past excursion Raja The Great hit the nail on the head with a couple of amusing parts, however this one is futile. Not one scene waits toward the finish of the boisterous, yawn-prompting drawl.
There are numerous written work credits – story by Vakkantam Vamsi (truly?), Deepak Raj for screenplay and Srinu Bosani for exchanges. Did the story and screenplay experience diverse hands or was the presentation chief (Vikram Sirikonda) unfit to decide on the off chance that he needs to go hard and fast in making an easy decision drama, or an activity performer or a family film! Note the word family, for, this film and its legend Karthikeya (Ravi Teja) toss the word around generously, until you've had enough.
In Karthikeya's work environment (he's a type of an industrialist on the grounds that there's some kind of a processing plant. Try not to ask more), the dividers are put with trademarks about watching over your family. Somebody strolls in for an occupation and notices that he will live alone and will send cash to his family in Vizag, and Karthikeya dispatches an undeniable sermon about family, amid which words like 'fixation' 'empathy' and others that one wouldn't recollect are put together.
This family-adoring legend hovers over his two youthful sisters, father, mother and grandma. The family needs him to get over an intense past (highlighting Seerat Kapoor) and see him get hitched. A pelli choopulu arrangement takes after highlighting Pushpa (Rashi Khanna) and it demonstrates that the saint is in an ideal situation talking as meager as he can. Pushpa demonstrates some spine when she rejects him for being cumbersome and senseless. In any case, in many mass masalas, the courageous woman needs to fall in line in any case. So does Pushpa, regardless of whether Karthikeya's concept of applauding her is comparing her to 'Statue of Liberty', since it is 'world well known'. Indeed, you read it right.
JAM8 band's 'Pushpa' melody has a snappy mood, however little else occurs till the interim and even well after the interim. From the beginning you consider how this story were created in talk stages and how the group approached making the film? An official of police (Murali Sharma tries to convey some pride to the procedures) knows Karthikeya's past as a brave and heedless cop. Things don't end until the point that Karthikeya reemerges as a cop to settle old scores. Irregularly, there's degree for Vennela Kishore and Satyam Rajesh to get some diversion. Freddy Daruwala is yet another expansion to Mumbai import scoundrels cast in slow characters.
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