The answer might just start a fight more interesting than the film itself.

The narrative is drenched in guilt. The hero must undergo intense self-flagellation. Films like Nuvvostanante Nenoddantana (though the relationship is brother-in-law/sister, the dynamic feels sibling-like) or older classics where the hero raises a girl who later becomes his love interest hinge on this. The Tappu (fault) is projected onto society or fate, never the hero’s desire. The audience is forced to sympathize with the hero’s "helplessness" against his feelings, reframing a potentially taboo attraction as tragic romance.

Hero loses memory. He is taken in by a family with a daughter. They call him "Anna" (brother). He believes she is his real sister. Then he regains memory – she is NOT his sister. But by now, she has fallen for him as a brotherly figure. When he tries to convert that to romantic love, she refuses: "Nuvvu nannu amma la choosukunnav, ippudu priyurala choosthe… ela?" (You saw me as a mother/sister, now as a lover… how?)

Let’s break down the four most controversial "Chelli" romantic storylines and assign the moral compass.