| Pandiyarajan seems confused about how to handle Doubles. The ultimate moral he has
tried to convey through the movie is that one must be faithful to one's wife.
But he doesn't seem to be clear on the story to
convey it through, the tone to adopt or even the character of the hero. So we get a
movie with a one-line story that is chockful of double entendres for the most
part but ends with an attempt at cheap sentiments.
Prabhu(Prabhu Deva) is the happy-go-lucky owner of a toy store. He has all the vices like
smoking and drinking but as far as women are concerned, his policy is 'look but don't
touch'. He gets married to Meena(Meena) and loves her but his roving eyes never
really stop. Meena's friend Sangeetha(Sangeetha) arrives to stay with her. Having
had an encounter with Prabhu in a bus, she is determined to unmask him for the womaniser
With Prabhu Deva marrying Meena within a couple of reels and Sangeetha not making
an appearance until the intermission, there is not much that happens in the first
half other than the playful interactions in Prabhu Deva and Meena's marital life.
But there are a few indications that Pandiyarajan hasn't lost his comic touch completely.
The honeymoon scenes of Pandiyarajan and Meena in the under-construction hotel
are the funniest scenes in the movie and a couple of 'kadi' jokes do hit home.
Meena's complaints to her parents about Prabhu Deva's vices while they are immersed
in the same, are also funny. But most of the other jokes are vulgar and cheap.
The movie is nothing but a string of jokes put together. The scenes are so disjoint
that it looks like Pandiyarajan's MO was to find a joke and then create a situation
to insert into the movie, regardless of whether it fitted in or not. A prime
example of this is Manivannan's encounter with a prostitute. Until then, he shows
no sign of straying but the need to introduce a stale joke forces him to negotiate
with a prostitute! Worse, the scene is poorly presented and raises no laughs (in
contrast, there was a similar scene in Ennammaa Kannu, also
involving Sarala, that was very funny). Infact, all of the Manivannan-Sarala sequences
would fall into this category though a couple of them(like Sarala's dealing with his
cycle of drinking followed by a trip to the bathroom) are funny.
The second half turns increasingly vulgar and illogical with Sangeetha's attempts to seduce
Prabhu Deva. We're never really sure what her goal is and Meena's reaction to incidents like
Prabhu Deva pinching Sangeetha's hip are laughable. Vivek's routines too get increasingly
ridiculous and tiring. One saving grace of Pandiyarajan's previous outings like Gopala
Gopala and Sundari Neeyum Sundaran Naanum was
that they remained comedies until the end. We do not even have that relief here.
The movie has one of the most miscalculated endings since Kannan Varuvaan. The ending effectively confuses the moral of the movie as well as alters
its tone completely. Pandiyarajan makes a guest appearance here.
After an attempt at acting in Pennin Manadhai Thottu, Prabhu Deva
goes back to his trademark facial gestures, mannerisms and dialog delivery here. With
movies like Time and now this under his belt, he must be
the hero with the worst screening process for picking his movies. Meena looks jaded while
Sangeetha is buxom but shows good dancing prowess. The only other cast member who makes
an impression is Sarala as the devoted wife. Music is by Deva's son Srikanth and the
songs are pleasing and surprisingly, well picturised too.