The first half has a taut script that makes for some very interesting viewing. Well-etched colourful characters and engaging situations keep the pace going, and a suspense is built around the hero too. But then the film moves to the second half, a jump to his past, and then back again to the present, where the hero completes his vendetta plan. The second half is a complete let-down, slip-shod as it is in its scripting and narration, the new characters introduced not very interesting either. If only the situations here had been worked out better, the film would have turned out to be one of Sharat#$#s more memorable ones.

Sharat plays the dual roles of Arasu and Nataraj, the son and father respectively. The film opens with the arrival of Arasu, the new temple-accountant, to a village. Mild and soft-natured he#$#s wooed and bullied by the priest#$#s daughter Meera. Life goes on smoothly for a while, till Arasu at one point is forced to reveal his real identity, and his purpose in taking refuge there. The second half refers to the past, where Arasu#$#s father Nataraj plays the central role. A local big-wig, Nataraj clashes with the father-son duo of Saba and Guna, leading to a brutal end to him and his wife. Arasu lies low, biding his time, to have his vendetta.

Sharat plays the mild mannered, soft Arasu with conviction, Nataraj being more of the #$#Nattamai#$# style. Simran fits in perfectly as the village lass taking liberties with Arasu, shocked when his real nature comes to the fore. Vadivelu provides the comic relief. The scenes of the #$#baddies#$# are not handled well, for Sai Kumar and Riyaz Khan hardly get any meaty scenes. Bharat Murali, as the investigating cop, is clearly wasted.