Director Bharathiraja had painted in the beautiful canvas the village called Muttom in Kanyakumari district in Kadalora Kavidhaigal and Alaigal Oyvadhillai. Debutant director Raja Mohan who has handled story, screen play and direction has portrayed the same village in a more gorgeous and spell binding fashion in KPKP. His new sphere of operation is sure to take Tamil cinema to places. Dialogues are drenched in the distinct native flavor of Kanyakumari district like never before in Tamil films.

Hero Ramakrishnan hails from a medium affluent family. Heroine Darshana who has been deserted by both her parents comes to her granny’s village for studies. The friendship of the lead characters leading to love has been crafted well by Raja Mohan who shines in the scene where Darshana asks innocently to Raja Mohan who is doing a peeping Tom job when she is bathing about the Maths class that she missed. When the hero’s mom finds out about their childlike love, she goes on a hysterical mission, flogging and cutting Darshana’s hair. When the hero on his arrival from school tour gets to know this, he retaliates by moving away from his mom and takes to alcohol. Meanwhile Darshana is sent to a different village and is thrown into the hands of malicious people who try to ravage her in the façade of protecting her. Arrangements are being made to forcefully get her married to a rogue. The events that follow this form the remaining plot which has been narrated in a no-nonsense way.

Hero finds it an uphill task to emote especially in serious scenes. Darshana has a perennial melancholic visage even when she smiles. Performance of hero’s mom is noteworthy. The artist who has done the role of Kamal’s fan fits perfectly.

Story glides smoothly without any forced elements albeit a bit slow. The director and producer should be lauded for not bowing to any commercial claptrap. There is no separate comedy track.

Art director has not much of work in KPKP as the streets in Muttom appear naturally beautiful. Looks like Yuvan has enjoyed himself while scoring music for KPKP. Chinnanchiru and Oru Ooril will remain in the charts for a long time. Cameraman Siddharth’s work is praiseworthy.

On the flipside, although the film appears very natural, it fails to make an impression and the scenes don’t make a serious impact. Something somewhere is missing.

Verdict: KPKP is for people who enjoy a different subject