Plot
The movie starts with Sravani (Tanu Roy) and Subramanyam (Ravi Teja), strangers to each other, meeting at suicide point of Vizag seashore. They realize that their goal is the same. Suicide, that is! They describe to each other their reasons to end their lives and duly write suicide notes. Sravani's reason is her nagging relatives who are also guardians of her. They are after Sravani's ancestral money. A friend who took a lump some of money by offering to get a job in Dubai cheated Subramanyam. Sravani and Subramanyam fulfil their last wishes with the help of each other. They consume ample amount of sleeping pills in a bid to end their lives in the room of Subramanyam. The house owner rescues them. Subramanyam lands up with a plum job later as the relatives of Sravani take her back to the home. Subramanyam's marriage gets fixed with a girl of his mother's choice and Sravani's marriage with her maternal uncle. Sravani and Subramanyam flee from their respective marriage halls independently. The rest of the film is about how the lovers unite. In this film, Samrin acts as the boss's daughter loving Ravi Teja. She is the glamor doll of the film and turned out to be a big relief for this otherwise serious love subject. She added another angle to the love to make this film triangular. Music for this film was by Chakri. K. Dutt worked as the cinematographer for this film.
Some bits of this movie are seen in Hindi movie, Anjaana Anjaani directed by Siddharth Anand starring Priyanka Chopra and Ranbir Kapoor.
Read more about this topic: Itlu Sravani Subramanyam
Famous quotes containing the word plot:
“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
—E.M. (Edward Morgan)
“Those blessed structures, plot and rhyme—
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“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)