It’s a poor boy-rich girl love saga set in a rural milieu. The director has tried to infuse some freshness by way of the backdrop to the scenes. Rows of windmills, the stone quarries, the slushy ambience of the brick kilns, all form interesting backdrops to crucial situations. The action scenes also have a touch of realism to them. But with the relationship between the lovers depicted superficially, the duo hardly interacting, the depth is missing. So the brutal backlash on them when their love is discovered, leaves one emotionally untouched.Kathir, hailing from a humble background is shabby, unkempt, looks like a tramp, and is a jobless wastrel (Rajesh in his home production). But this does not stop Yasodha, the daughter of the local bigwig from falling for him at first sight. Smitten by her, he keeps following her car on his bicycle. Her shockingly rude behaviour with her mother at home, misleads one to think that she may be playing with Kathir’s emotions. One cannot fault Rajesh on his performance. But watching him on screen for more than two and a half hours, particularly in the song and dance sequences of which there are quite a few, becomes tiring. His long soliloquies when he is separated from his lover, don’t make it any better. The film opens in a hospital where Kathir is lying seriously injured. It goes into the back-story and spirals to a dramatic climax. A touch of ‘The sixth Sense’ here.
The better moments are the action scenes where Kathir is brutally assaulted by Yasodha’s relatives. Unlike the fake heroism of formula films, Kathir is outnumbered and no match for his tormentors, doesn’t retaliate, each time getting bashed up black and blue. The director seemed reluctant to end his story, dragging it forward.