Among older social movies, Uyarndha Manithan could serve as a good example for the difference in the kinds of movies MGR and Sivaji starred in. While MGR was the man who could do no wrong, this movie sees Sivaji as a man who is unable to even save his own wife and spends his life repenting for it inspite of being forced to marry another woman. The movie has a very interesting and strong story and is further aided by some nice performances and good songs.

On a vist to his estate in Kodaikanal, Raju(Sivaji) falls in love with Parvati(Vanisri), the daughter of the caretaker, and marries her. But his caste-conscious father kills the pregnant Parvati and forces Raju to marry Vimala(Sowcar Janaki). But we soon learn that Parvati escaped, delivered her child and died only when the boy was 5 years old. Nineteen years later, the young man Sathyamurthy(Sivakumar) joins Raju's household as a servant and forges a bond of affection with Raju.

One of the things I have noticed within the first few reels of most old movies is the speed at which the story progresses. The same is true of Uyarndha Manithan too. Unlike present-day movies which have a flimsy story and move it along with the help of song sequences, comedy tracks and fights, so many things are part of the story here. Sivaji's romance with Vanisri, his marriage, Vanisri's death and Sivaji's next marriage take place at a rapid pace and before we know it, nineteen years have passed. It is only after the meeting between Sivaji and Sivakumar that the movie slows down to catch its breath.

It is quite amazing that the movie manages to present us with characters we come to care about, inspite of this fast pace. Sivaji, inspite of being the hero, has his flaws and it is surprising to see him being subdued by his father's goons and fail to save his wife. His friendship with Major Sunderrajan, the car driver who was forbidden to attend school by Sivaji's father, illustrates his character well. Asokan is a good friend who hides his own feelings for the sake of his friend. The married life of Sivaji and Sowcar Janaki is depicted quite well and is one of the interesting aspects of the movie. Her sadness at her 'perfect' life and later happiness at being slapped by Sivaji are quite funny.

The movie does well in bringing up interesting situations that keep the story moving. But the proceedings tend to be a little slow during the portions which document Sivaji's affection for Sivakumar and the attempts of VKR and Manorama to send him packing. Asokan's inability to convey the truth to Sivaji is also obvious as a way to prolong the movie. Though the climax proceeds along expected lines, it has been set up well with the setting of the house on fire bringing closure by giving Sivaji a chance to not repeat his earlier behavior. Technically, the scene has been executed very well with the falling walls and their closeness to the characters inside being very believable.

Sivaji makes a very dignified rich man, getting his chance to emote during the final scene with Asokan and the fight with Sowcar Janaki. Sowcar manages to generate sympathy for her during the portions where she finds Sivaji showering affection on Sivakumar. Sivakumar, in one of his earliest roles, fits the role of the innocent, goodhearted young man well. Andha Naal Nyaabagam..., one of the first songs to mix music and dialogs, is a popular song and picturised well with Sivaji and Major Sunderrajan reminiscing about their past. Velli Kinnangal... and En Kelvikkenna Badhil... are both melodious duets.