The film that begins in 1957 starts off with a bloody tiff between the owner of a cotton mill called Krishnaveni Panjalai and its management resulting in the arrival of his estranged son to revive it. He does it successfully and the cotton mill becomes the pride of its locality. Having stood the test of time for many decades, there comes a time for its downfall thats pulls down the lives of everyone depending on it. The village of Udumalpet largely survives because of the cotton mill and so are the many love stories. Kadhir and Poongothai form the main lovers. Their affair is mired in uncertainty regarding its fruition into marriage because of many issues their caste difference, the head strong mother of Poongothai who is against it and the ill-fated cotton factory. While their love survives, the others perish. The film finally ends on a poignant note.
Having set the cotton factory as the basic premise, the director fails maintain to it beyond a point. The romance of the lead pair takes over and becomes the dominant story causing deviation from the so-called main plot. Then there is this half baked dig at the caste system, some mysterious deaths and many side stories, all of which steal the focus from factory. The story comes back to the cotton mill only during the last hour that depicts the decline of the cotton mill. Even this portion lacks focus and you neither feel for the misunderstood good-hearted owner of the mill nor for the workers miserable plight. You walk out of the theatre with a mixed reaction. The slow pacing and the visual treatment of many sequences give the feeling of watching a Doordarshan serial of the 80s.
The performances of entire cast remain largely good and make the film fairly watchworthy. Hemachandran and Nandana, the lead pair, put in confident performances like all the other debutantes in the movie. Renuka as the heroines mother, Bala Singh as the heros father, Kai Thennavan as the supportive uncle of the heroine and Rajiv Krishna as the mill owner lend fair support. Rajiv Krishnas suspenders which he refuses to remove throughout the film make for some unintended humour while the comedy track of M S Bhaskar is anything but funny.
Raghunandans music seems adequate, but two songs in the second half need to be cut. Cinematography is above average but the editing is strictly below average.
A potential one line idea gets spoilt while being fleshed out.