Movie: Viswanathan Ramamurthy

Director: Rama Narayanan
Cast: Ramki, Vivek, Roja, Vindhya, Kovai Sarala, Murthy, R.Sunderrajan, Mayilsamy.

A comedy track can at times bring some relief to a dull film. But when the track itself extends to the whole film then it becomes a little too much to take. Hero Ramki and heroine Roja are completely sidelined by Vivek and Kovai Sarala who hog most of the footage. Apart from a few scenes, the rest are just torturous for the viewer to sit through. Kovai Sarala, particularly, is let loose on the screen by the director to do as she wishes, and of course she makes the most of it. The fact that she plays a demented woman gives her additional license to go berserk with her performance.

Viswanathan is the hen-pecked husband of Meena (Ramki-Roja) who makes no bones about her intention of making it as a heroine in films and leading a luxurious life. Her hubby, who caters to her every need, does the housework. Viswanathan's best friend Ramamurthy arrives with his comely wife Senbagam (Vivek-Vindhya) to try his hand at scriptwriting for films. Viswanathan's uncle dies leaving a huge sum of money to his nephew. The only condition to be fulfilled is that Viswanathan should have tamed Meena, and the duo giving the picture of a perfect, ideal couple instead of a squabbling two-some. The manager, in charge of making sure that the condition was fulfilled before handing over the money, arrives at the house with his slightly demented daughter Andal (Murthy-Kovai Sarala).

Meena being out of station, Senbagam is persuaded by her husband to pose as Viswanathan's wife. Andal, taking Ramamurthy to be a bachelor, harasses the poor guy with her ardent, almost violent wooing. Meena returns home, learns of the inheritance, and joins in keeping up the act. The two guys try to sneak some quiet moments with their respective spouses, from the prying eyes of Andal who senses that something fishy is going on right under her nose. Finally truth is exposed and matters are put in their proper perspective.

The film is not a disappointment, because there was not much of an expectation from the beginning. Those who have seen the director's earlier films know exactly what to expect. So, while the urban audience may squirm in their seats, the targetted audience - the B and C centres as they call them in filmy parlance - will most probably lap it all up. The theme of this film closely resembles an earlier Tamil production - ‘Veetukku veedu vasappadi’.