Seval

The alpha is promising, at any rate, as you watch a Don't-Care Murugesan (Bharath) bending sorrowfully from the Central Jail, Palayamkottai, in a scruffy bristles and glasses. 

He's been confined for 17 years. Naturally, there's a news which rewinds from 1989. In those advantageous days, he's an assertive youngster in appealing apple Sivasailam, (Hari's forte, Thirunelveli District), the son of a aggressive flower-sellers (Rajesh and Yuvasri), with Thapaal Thangavelu (Vadivelu), who provides as abundant amusement as the posts he delivers. 

Life is a long, brilliant chance for Murugesan who beats bodies up, sells his grandfather's land, runs over rooftops (like the banty of the title) and incurs so abundant of his father's acrimony that he's prophesied to accommodated a abhorrent end. Not that this black anticipation affects Murugesan—he continues on his own candied way until he runs accurately into Parijatham (debutante Poonam Bajwa), a demure, fair-complexioned, arresting Iyer girl, the babe of Panjami Iyer (Y. G. Mahendran) and the adolescent sister of Gayatri (Simran). 

Thus we accept the aboriginal bisected which is a alternation of antic fun interspersed with analytic sequences; the two accept abrupt and arbitrary escapades. 

In the meantime, the village's bigwig (Sampath Raj), who's magnanimous in accessible and a tyrant at home, casts his eyes on Parijatham. What sets his assuming afar is that he's not your boilerplate villain who shrieks and carries abroad the heroine; he places his pawns carefully, and is abashed of actuality begin out. He and Murugesan appear abutting to breaking anniversary other's basic abounding times—but the situations broadcast themselves in a altogether accustomed fashion. 

Several twists in the account action in a quick fashion, and Murugesan and Parijatham are apprenticed in a net from which, seemingly, there's no escape.