A young woman gets into a conflict with an auto driver after he unintentionally disrupts the very purpose of her purpose visit. She decides to wreck his life in turn but, then, learns of his past and falls in love with him.
Throughout his career, director R Sundarrajan has resorted to the device of a hero and a heroine clashing initially only to fall in love later. Think
Amman Kovil Kizhakkale, Engitte Modhathe,
. He uses it again in
, in which a young woman (Vasundhara), who comes to the city to solve a legal wrangle over her property, gets into a conflict with an auto driver (Arjun) who unintentionally disrupts the very purpose of her purpose visit. Having lost her ancestral property, she decides to wreck his life in turn but then learns of his past, softens up and falls in love with him (another regular Sundarrajan contraption that can be seen in films like
However, what might have worked well or at least partially in those previous films never really works here, as none of the characters do anything remotely logical. When the heroine leaves her file in his auto, the hero and his friend (played by Sundarrajan's son Ashok) do not return it but use it to teach her a lesson as she is arrogant. And, when the heroine comes to know that the autodriver is actually the son of a rich man and has sacrificed his life to bring up a child belonging to a mentally-challenged woman, she decides to make her way into his home and heart by acting even more arrogantly. She buys their home, becomes a teacher in the girl's school and bullies her in class, and even claims that she is the actual mother of the child!
What's more, in addition to the dated look of the film, the director also resorts to melodramatic contrivances that Tamil cinema has put behind for good — a God's eyes are closed leading to a terrible storm, a delivery takes place in the middle of the road under a pushcart, the heroine is asked to prove that she is the actual mother by swearing over camphor flames. All these can be forgiven if the execution had been plausible but here, the execution is downright laughable that even Ilaiyaraaja's score cannot redeem the film one bit. If this had been a first-timer's film, we would have felt pity but coming from a veteran, who has given us at least half-a-dozen memorable films, we feel cheated.