A scene, which is definitely worth mentioning and heartrending, is the one right after the interval, when Sneha finds her entire family at the new place where the hero is transferred, only to realise later that it is a dream. The heroine’s loneliness has been etched out very well in scenes where she pulls up conversation with the electrician, TV mechanic and the dhobi-woman and in scenes where she listens to the taped voices and sounds to thwart the feeling of desolation. Jeyaram’s character, as a general physician, is a real treat. In simple terms, he has done a commendable job. Sneha’s role will be talked about for a long time to come. She uses her eyes very effectively to emote and express her inner feelings. Cheran is restrained and respectful. MS Bhaskar, Super Good Laxman and Ganja Karuppu are impressive as the support cast.

There is nothing in the movie that can be termed as a negative, that is, if you don’t mind the slow pace post-intermission, though that is inevitable, considering the storyline. Even if one could predict what is bound to happen post-interval, the director has managed to keep the tale gripping with the screenplay.

Editing, art and camera work by Saravana, Rajeevan and Prabhu, respectively, fit seamlessly well into the movie, so much so that it is inconspicuous to the audience. Songs flow effortlessly into the narrative, but it is in background-score that Vidyasagar clearly stands out. Easily one of the best efforts of recent times. The dialogues are well conceptualized and written.

As mentioned earlier, though the second part of the film moves at a slower pace, the climax is short and crisp with a director’s touch. What is also worth appreciating is omission of scenes that would have dampened the story’s spirit. While most of the directors might have tried to cash in on an intimate scene right after the wedding, this film has shifted its focus from that trend.