Director S.P.Rajakumar has been confronted with the same problem that plagues most directors who take up the topic of a man caught between two women. The question is ofcourse regarding the tone to adopt for the movie. While the topic of the wayward husband lends itself to comedy, the plight of the women is not be taken lightly. Directors who stick to one tone throughout seem to be more successful while those who try to offer up a mixture of the two end up delivering neither satisfactorily. S.P.Rajakumar chooses to take the latter path and the final verdict is the same - the movie struggles between being a light comedy and a serious tearjerker.

Murugesan(Livingston) thinks the world of his uncle's daughter Maheswari(Devayani). His love wins her over too and she agrees to wed him. Sinthamani(Vindhya) is a dancer who comes to town and Santhamurthy(Ponnambalam) has his eyes on her. Murugesan saves her from Santhamurthy's clutches but in an inebriated condition, ends up sleeping with her the night before his wedding. His confession infuriates Maheswari initially but she eventually forgives him. But further problems crop up when Maheswari and Sinthamani become pregnant at the same time. Now Murugesan is unable to abandon her since he is responsible for her plight.

S.P.Rajakumar was the director of Ponmanam, which had some very funny comedy sequences. The first half here proves that he still maintains the same comic touch. There are several funny one-liners(like the postman's reason for crashing against R.Sunderrajan) and visual gags(like the way Livingston punishes R.Sunderrajan for Devayani ignoring him). The half-baked ideas of R.Sunderrajan and Vadivelu to make Devayani fall for Livingston are funny with the Padaiyappa-sequence being the pick of the lot. There are a few moments of mirth in the second half too but with the director laying on the sentiments a little too heavy, these laughs feel out of place.

It is clear that the director has struggled to decide on the right tone for the movie. This is especially clear in the second half where we have scenes of Livingston sneaking to Vindhya's house and taking her to the temple, mixed with heavier scenes like Devayani's reaction to his gift of anklets. Admittedly, some of the sentimental scenes, which are handled with subtlety, do work. The scene where Livingston visits Vindhya and tells her about Devayani's pregnancy and Vindhya's reaction to this news is very effective and makes us feel sorry for her plight.

The comedy, which is so enjoyable in the first half because it moved along with the story, becomes forced and unfunny as things become heavier. It becomes apparent that the director has forcefully inserted the comedy sequences for comic relief. Vadivelu's encounters with the apparently mad man are funny in concept but not in execution. But surprisingly, his narration of Livingston's past, which is basically a serious story, has some very funny moments because of his delivery. Mayilsamy's first encounter with the patient is also funny. The climax uses the oldest trick in the book to resolve things a little too cleanly.

Livingston seems to have good timing and a natural flair for comedy and employs these effectively. Devayani has quite a meaty role and uses the opportunity well. Her outbursts against Livingston are believable and her 'ragging' of him after forgiving him is quite funny. Vindhya seems to have improved her dance skills since Sangamam and earns our sympathy. Vadivelu and Ponnambalam have their moments. Songs are forgettable with two completely unnecessary 'gana' songs in the second half.