The main story revolves around Roja(Roja), who is the breadwinner in a big family consisting of her drunkard father(Manivannan), mother, two younger sisters and a brother Velan(Master Kuralarasan). Her older sister(Sarala) is married to a no-good man(Vadivelu), who provides company to his father-in-law for drinking. Roja works at a finance company where she is pursued relentlessly by Murali(Murali). She is also part of a music troupe run by TR(T.Rajendar).

The movie has so many disparate stories and characters that it becomes difficult to keep track of them. Apart from Roja's troublesome story, we also have stories of her youngest sister, who has an affair with the director's son, TR's sister, who is suffering at the hands of her cruel husband(Karan) and mother-in-law, Roja's uncle(Livingston), who wishes to wed her, a muslim woman(Kushboo) living in the house opposite Roja's, an old couple who wish to adopt Roja's younger brother and a director who runs to TR to compose songs for him. But the characters have the flimsiest of connections between them and frequently, scenes seem disjoint when jumping from one segment to the next. As a result, the huge cast and multiple stories still don't succeed in holding our interest.

For most of the movie, scenes are repetitive and do nothing to propel the story forward. While Murali typically irritates us by hiding his love, here he irritates us by doing the opposite. It is pathetic to see him pursue Roja and convey his love at every possible chance while she repeatedly insults him. The same things holds true for Vadivelu and Sarala. Their scenes follow the same cycle of Vadivelu beating Sarala, bringing her to Roja's house, being insulted by Roja and patching up with Sarala. There is no variety in the scenes and this points to a lack of ideas on TR's part.

The movie picks up a little once the characters begin to realise their mistakes and turn over a new leaf. Several aspects like the performances and the dialogs improve from this point. Dialogs are quite sharp in the scenes where Kuralarasan reprimands Manivannan. Infact, dialogs at several points in the movie make it clear that TR has some talent in that field. Murali's comment to Roja when circling the idols in the temple and TR's own Thiruvilayadal-style answers to questions about love are some enjoyable examples of clever dialogs. Rajeev's offer to Roja adds confusion to the mix towards the end but the resolution is a little too convenient.

Few make their mark among the huge cast. TR, who does not seem to have picked up the nuances of acting or dialog delivery inspite of his regular appearances before the camera, spoils even good dialogs with his performance and delivery. His talent in juggling so many aspects in a film is admirable but one wishes he would stay behind the camera. Roja appears sad and angry throughout. Mumtaz, who is apparently the latest sex symbol in Tamil cinema and was introduced by TR, appears in a marginal role. TR's son Silambarasan has two dances. He dances quite well but if TR's claims about casting him as the hero in his next movie are true, we can ready ourselves for another unsuitable hero, after Manoj( Taj Mahal ) and Satyan( Ilayavan ), thrust upon us by nepotism. Most songs are dappanguthu but the title song is catchy.