It is an allegorical film, which explores three human emotions through the relationship between the main character and the three heroines and touches upon Maslow's hierarchy of needs.

Betala begins to narrate one of his puzzling tales to Vikramāditya which is the story of Naanu (meaning I/Me/Myself),[6] an ego-driven selfish rogue and the three women in his life.

A young woman, Rathi whose father, a swami is accosted by Upendra, exposes the hypocrisy of religion and his teachings.

However, she finds out that Naanu wants to marry a billionaire, Keerthi whose deceased father decides that her husband would inherit her entire wealth.

He prints wedding cards and distributes them to all, including employees working in Keerthi's establishments.

This angers Keerthi who orders her guardian, Marimuthu's son (who wants to marry her for the same reason) to attack Naanu.

While they both are jubilant, Rathi and Swathi learn of his marriage to Keerthi and reach the harbor where the pair is currently hiding from the henchmen of Marimuthu.

Betala stops the story here and asks Vikramāditya whether Naanu would survive or die in their hands.

Vikramāditya understands the tale's intention and says that Naanu, Rathi, Swathi, and Keerthi are not actual people and instead represent the human ego, beauty, responsibilities, and money respectively.

The three women disappear and Naanu, now silent and aimless, walks out of the building drenched in the rain.

This is only a broad outlook and each scene in the movie speaks about worldly life purely from the point of view of human ego satisfaction.

Calling the film's screenplay "excellent", he further wrote, "Upendra has overdone his role as an actor, director, writer etc.

"[10] A critic from Sify wrote that "This film has generated tremendous curiosity right from its production stage and it seems to have justified the hype, the media has created.

[6] Regarding the Telugu dubbed version, a critic from Zamin Ryot wrote that the director has shown the emotions of people in the form of human characters that are conversational in the most modern way with the flow of dialogue, although it seems vulgar here and there, the director has shown in bluntly, directly, and bitterly.

[citation needed] A sequel to the film titled Uppi 2 was launched on 18 September 2013 at Kanteerava Studios in Bangalore.

[14] Nithin Krishnamurthy, the director of Hostel Hudugaru Bekagiddare (2023), said in an interview that "the way he made the film was so unique, and back then, I wasn’t able to understand it completely".