Just like the 3 wicks of a lamp, the screenplay is like 3 parts of a story done in the '12B' style.

In general, to take up such a treatment of a film is like swimming against the rapids of a wild river. Director Durai has swum against this cross current.  But his reaching the banks lies in the hands of the rasikas.

A string of mysterious murders in Chennai has the police force foxed. They want to throw out the net to catch the culprit, but with no clue to all, their khaki uniform ends up damp with perspiration, that's about all.

In another track, Bharath is a software engineer who falls in love with Meera Jasmine and marries her. When Bharath goes to work, a local inspector throws a bait to Meera Jasmine, who is alone. At one point, the matter turns serious. The inspector kidnaps Bharath and threatens Meera that if she wants to see Bharath alive, she has to give in to his desires.

In the third track, Bharath is a jail convict. He attempts suicide and ends up with a heavy punishment.

As the story jumps in and out of the three different parts, we get all agog at the interesting knot towards the climax.

The director has a happy time making the viewers guess at the number of roles Bharath has.

In the 3 roles of Nepali, prince of romance and a jailbird, Bharath has done a great triple role. His varied body language that he uses to differentiate each character is commendable.

The role of Meera Jasmine is quite like a princess who comes to a feast but is sent back hungry. Except for the part where she is subject to sexual harassment, there is absolutely no scope for acting for her.

To signify a time at which a murder would be committed goes back to the times of 'Kaidhiyin Diary' and one wonders why this train of thought is used.

Why talk like a paralysed person in the role of a Nepali? What is the reason to elaborate hugely on how a murder is committed? Despite being in a heavily guarded solitary cell, how come it is so easy for Bharath to kill the jailer? Even as one is wondering about the answers to these questions, the film is over.

With just a phone call, Bharath manages to lure the police away from discovering his identity. Such points add to the pace of the film. The Meera Jasmine-Bharath romantic scenes have nothing new to convey.

For giving different types of background music appropriate to the characters, Srikant Deva deserves applause. With his cinematographic skills, Madhi is one of the strong points of 'Nepali.'

There are some unnecessary dragging points in the film. If these had been avoided, 'Nepali' would have been a strong guy.