Produced by Allu Aravind and V. V. Sastry under Prasanthi Creations, the film stars Chiranjeevi and Sumalata, with music composed by K. V. Mahadevan.

Released during a period when Chiranjeevi was gaining prominence as a lead actor, following the success of Intlo Ramayya Veedhilo Krishnayya (1982), the film played a key role in further establishing his career.

Known for its strong social themes, nuanced performances, and memorable music, Subhalekha remains a significant film in Telugu cinema.

Murali forces his father to approve their marriage by threatening suicide, and Adiseshayya, unable to secure a large dowry, reluctantly agrees.

After their marriage, Lakshmi moves in with Sujatha, and with Murali's support, files a lawsuit against Adiseshayya to demand her husband's custody, as she paid dowry for him, in a bid to teach her father-in-law a lesson.

The film concludes with Adiseshayya returning home to discover that his elder son Mohan has married Murthy's widowed cousin.

The film's screenplay and story were developed to highlight the consequences of the dowry system, continuing Viswanath's tradition of blending social commentary with accessible storytelling.

Her collaboration with Chiranjeevi in Subhalekha was followed by further successful pairings in films like Aalaya Sikharam, Khaidi, Agni Gundam, and Veta.

The film emphasizes the dignity of labor, particularly through the character of Narasimhamurthy, a waiter who stands against societal pressures related to dowry demands.

Murthy's role as a waiter was unconventional for a male lead in that era, while Sujatha, the female protagonist, faces societal challenges while striving for independence.

[1] Subhalekha also falls in line with Viswanath's broader body of work, in which male protagonists support female characters in gaining confidence and independence, reinforcing themes of mutual respect and equality in relationships.

Unlike the formulaic love stories of the time, Subhalekha stood out for its realistic characters and social messaging.