The first meeting between Velu(Ashok), who works in a lorry service booking office, and Manju(Visaka), a college student, doesn't go well. While she is going on the bike with her dad(Sampath Raj), her papers fly off from her lap, blinding Velu and causing him to crash his bike. An infuriated Velu shouts at her and almost comes to blows with her dad. But Manju is concerned about his health and once he cools down, Velu too realizes that his words may have been a tad too harsh. These feelings gradually turn into romance but Manju's dad, an ex-military officer who is now working in Customs, isn't too happy when he finds out about it.

Originality is good but Pudichirukku proves that it is not a necessity for us to enjoy a film. From the basic storyline of a romance being opposed by the girl's strict father to individual sequences like the one where Ashok shows up drunk in front of Visaka's house, this is a film that doesn't contain a shred of originality. But within such familiar scenarios, the director manages to introduce a feeling of freshness with the way he constructs sequences and develops the story. Whether the romance between the lead pair or the conversations between Visaka and her father, there is a touch of realism that goes a long way in helping us overlook feelings of deja vu.

The romance between Ashok and Visaka is developed naturally and convincingly. The tentative excitement between young lovers is brought out well in their meeting in Ashok's shop and the way the job facilitates their spending some time alone is sweet. Ganja Karuppu gets a few good laughs at Ashok's expense during these portions too.

Though it is after the fact, Ashok's troubles in Pune prove that the couple's romance has indeed captured our hearts. As the days stretch on and his situation turns more dire, he earns our sympathy with his confidence and never-day-die attitude in the face of huge odds. As he looks for Visaka with little to go on, the movie does remind us of a one-sided version of Kaadhal Koattai , a film based on which we've had many - or rather, too many - clones. But Ashok's problems, apart from illustrating the depth of his love, succeed in making us feel sorry for him and hope that he finds Visaka soon. Many of the sequences, like their dinner with a Tamil family at the railway station, are quite poignant with going overboard. The fact that his problems and solutions are portrayed realistically has a lot to do with that too.

Everything that was true about the rest of the movie holds good for the climax too - it is predictable and reminds us of atleast one other movie but still manages to impress us with the way it is executed. Characters come into their own at just the right time and it doesn't feel artificial.

Ashok, who we saw last year in another love story Murugaa is simple and sincere - two qualities required for his role to work. He is youthful and natural in the romantic segments and underplays the role just the right amount in the second half to earn our sympathy. When he talks to Ganja Karuppu and convinces him about his hopefulness in finding Visaka, he convinces us too to root for him. Visaka is also plain and sincere. Though there a few places where she does that shy, smiling thing a couple of times more than necessary, she is definitely expressive and does a good job. Sampath Raj is the typical strict dad while Saranya plays the usual supportive mom role. New music director Manu Ramesan delivers a perfect soundtrack. Kaatrodu Solli Ponaaye... is catchy with the quick editing and fast transitions giving it nice energy. Yaaridam Naan... is also quite melodious. Neither of these is picturized as a traditional duet and that helps. Enge Naan... is a average number but parts of the song being sung in Kannada and Hindi as the location changes is a nice touch.