Twin brothers who have been cat-and-mouse right from inside their mother's womb get separated when they are young. What happens to their enmity once they meet again?
To even attempt to describe the plot of Aayirathil Iruvar is enough to send one's head spinning, for writer-director Saran fills it with so many subplots that it is quite a wonder that the film makes some sense. First, there is the conflict between Siamese twins Senthattikaalai and Sevathakaalai (Vinay), who are constantly at loggerheads and hate each other to the core. Next, there is the conflict between their father, Lingaraja and their relative Kotaisamy, (and his family), over their ancestral property, which shows no sign of ending. The death of the latter only adds fuel to it.
There is also a subplot involving Arundhati (Kajal Pasupathi), a politician's mistress, and his benami Beemaraju (Pradeep Rawat), who has 'saved' the account number of his master's Swiss bank account as a tattoo on his daughter, Bhumika's (Swasthika) body. Then there is Mandhiramoorthy (Arul Doss), a faux-gangster, who is after Senthatti because the latter has labelled his now-dead father a thief. And another subplot deals with Neelaveni, the wife of the slain Kotaisamy, who is planning to get her revenge by marrying her brother, Inspector Thilak Prabhu to Senthatti's lover Adhirshtamalar (Samuthrika).
If you have managed to keep up this far, let's just say it all leads to scenes that have the twins switching places, and a climactic episode that is all about the confusion resulting because of mistaken identities.
Saran is no stranger to masala movies, having delivered hits like Gemini and Attagasam. Here, he takes up a plot that is a little similar to the latter, and goes all-out to make the film entertaining, but with actors who hardly have charm, it becomes difficult for us to bother with the convoluted plotlines.
The film also blatantly objectifies both its female leads (one is literally commodified) and even the other women characters like Urmila Naidu, a hawala operator for whom Sevathakaalai works as a conduit, who proudly keeps saying, "I'm a hacker; I'm a hooker"! The lecherous camera angles only make this sexploitation worse.
That said, some of the comedy, especially the Arul Doss portions, does work, and the nuttiness of the premise keeps things somewhat entertaining, but most of it feels been there seen that, and overlong.