The story is as innocent as a baby's palms. It is seed for an undiluted love story.

In the title card listing is a caption that says 'ivargaludan vidhi vilakkaga' and so, even at the start, one can see the directorial touch, giving rise to expectations about the film.

Prasanna is an engineer who also has a literary bent of mind.  When there's a similarity between the poem he wrote and the one that is featured in a weekly, he writes to Udayatara, the writer of that poem. The ordinary letter turns over a period of time, into a love letter.

To see the face of the lady who has conquered his heart, he sets out to Kutralam. Unfortunately at that time, Udayatara goes on a tour.

To meet the girl he had come in search of, Prasanna stays with a friend. He confides his intentions only to his friend. Only the viewers know that the girl Prasanna had come in search of, is none other than the sister of his friend.

One day, Prasanna and his friend go somewhere on a bike. His friend dies in the accident that befalls them. On hearing of her brother's death, Udayatara comes rushing back home and accuses Prasanna of being the cause of his death. Now fate turns villain.

What next? We get the answer only at the end.

Without the drawback of having stolen the story from some Cd, adult dialogues, growling villains or artificial rains just to show off the heroine's body, the story is a tender one and credit for its sound foundation goes to director Marimuthu.

If a man stays in a household with 4 or 5 female members, this society is only too happy to gossip. When that is so in real life, imagine what it would be like in films. But Marimuthu's vision is different. Without third grade scenes and dialogues, Marimuthu steers the story in an endearing path.

For films nowadays that have one foot in water and other in slime, this film's logic should be an example of a decent screenplay.

While most heroes clamour for songs and fights, Prasanna is one hero who has paid more attention to the story and character and hence takes root in our hearts.

Prasanna is caught in a situation where he has to play uncle to his love's sister's children, and treat his own love rather like a sister. His inner struggles as he tries to cope with the predicament is proof of his talent.

Udayatara is different from the genre of actresses who claim that they will act glamorously if the story demanded it. To make her do only what is necessary to the story is the director's smart handling of the script.

Vijayakumar as the father, the sisters and other characters big and small have all acted in a realistic manner.

Vadivelu as Udumban who gets caught with totally unconnected people and suffers for it, provides light moments. When he complains at a police station about a lost well that has not even been dug in the first place, the theatre explodes.

Even regular scenes of Kutralam are pleasing to the eyes. Balasubramaniam's top view of the falls makes us view the falls from a new perspective.

Music composer Dina, poet Vairamuthu, editor Sasi Kumar and art director M Prabakaran have added to the film's credibility.

'Kannum Kannum' steals one's heart.