Bhaarathiyaar's life story is bookended by scenes of his sparsely attended funeral. A young Subbaiya evinces an unsupported interest in the arts, running off to watch a street show when he should have been studying. He earns the name Bhaarathi from the king and is married to Chellammaa, all in his childhood. His poetic genius continues to flower as he grows. A socially conscious man, he devotes all his time and energy to correcting the ills of society and becomes actively involved in the freedom struggle too through his inflammatory writings. But his radical activities to break the caste barrier are not looked on kindly by the Brahmin community, which washes its hands off him. But that in no way deters him and he continues his activities which bring him and those close to him, great personal sorrow.

The movie succeeds in revealing lesser known facts about his life like the reason behind his attire(including the turban). These early scenes in Kasi lay the groundwork for several of his decisions in life. His ego and eccentricity are brought out in several scenes as are his belief in equal rights for women and his love of nature. These are the most fascinating aspects of his life and form the most captivating moments of the movie. His comment in his meeting with Gandhiji, for example, illustrates his stubbornness and self-respect in a striking manner. But the movie lays more emphasis on his attempts to eliminate the caste barriers in society. The rest of the 'agrahaaram' is painted as caricatures and the lack of realism affects the effectiveness of these scenes.

The movie is at its best when focussing on the public life of Bhaarathi but falters when it deals with his personal life. Unfortunately, there seems to be a tilt towards the latter in the movie with several scenes dealing with the troubles his family undergoes and his alienation from the very community he belongs to because of his focus on correcting society. While a couple of scenes would have been sufficient to convey the message, the director overwhelms us with similar sequences which lessens the effect. The director has also had to tread carefully with respect to the unpleasant aspects of Bhaaratiyaar's personal life, probably because of the well-known animosity of certain groups to the mention of anything wrong about a public figure. So his well-known driking habit is glossed over with only a couple of pieces of dialog hinting to it. The need to cover the entire life of the poet in a span of two and a half hours leads to a sense of discontinuity at several places.

Dialogs sparkle at several places with both Bharatiyaar's contributions and the script writer's talent. The young Subbaiya cleverly turning an intended put-down("Bhaarathi Chinna Payal") into a put-down of the court poet is delightful. The clever analogy of teargas when talking about bombs is another scene where the script writer makes his mark. Ilaiyaraja delivers a superb soundtrack that is perfect for the movie. Perhaps with an intent of popularising the lesser-known songs, the director has selected such songs instead of the more famous ones like Achamillai Achamillai... and Odi Vilaiyaadu Paappaa.... The soothing melodies of Nalladhor Veenai..., the rousing beats for Bhaaratha Samudhaayam... and Vande Maataram... and the meaningful Nirpadhuve... linger in our ears and hearts long after the credits have rolled.

Shayaji Shinde, a Marathi stage actor, proves conclusively that language is no barrier for art. It is a splendid performance, his self-confidence and pride brought out by every small gesture and roll of his eyes. Alongwith with Rajeev, who provides the voice, he brings Bhaarathi alive in front of our eyes. Devayani conveys her helplessness well. T.P.Gajendran, the director of Budget Padmanabhan , is the perfect choice for Kuvalai, who stays with Bhaarathi till the end. Reliable actors like 'Nizhalgal' Ravi and Srikanth provide adequate support.