Entertainment Movie Reviews 04 Jan 2020 Pachai Vilakku revie ...

Pachai Vilakku review: Romancing the traffic

Published Jan 4, 2020, 10:16 pm IST
Updated Jan 4, 2020, 10:16 pm IST
Despite the preachy screenplay, the cast manages to put up a show
Pachai Vilakku: Love blooms amid traffic violations
 Pachai Vilakku: Love blooms amid traffic violations

CAST: DR Maran, Imman Annachi, Dheesha, Sri Mahesh, Tara



Ashwin Kumar (Maran) is a professor and a PhD holder in road safety. He also works as a part-time traffic warden in tandem with cop Vijay (Imman Annachi) to create road safety awareness.

While regulating motorists on the road, he chances upon an engineering student Subashini (Dheesha) driving a two-wheeler without a helmet. Instead of fining her, Ashwin lets her go, giving her a strange punishment. He gives her an imposition of writing traffic rules 100 times. Slowly, they fall in love.

Meanwhile, Dheesha’s younger sister Vaishnavi (Tara) gets entangled with the porn mafia, who demand huge money as ransom for porn videos. Now, Ashwin steps in to help Dheesha’s family. Whether he succeeds in his attempt forms the rest of the plot.


Besides playing the lead role, Maran who has a doctorate in traffic regulations and road safety in real life too, has also taken on the onus of the story, screenplay and direction.

Apparently, the first half showcases his passion for traffic rules and the many unknown aspects of it. Like the one - ‘MSM – Mirror Signal Maneuver’, which is one of the basic rules for safe driving which he highlights.

He also brings out the perils of talking or texting while driving (may lead to accidents) through a short segment in which a ghost (played by Roopika) punishes those who violate road rules. The second half is about the misuse of mobile phones and how women are affected.


As a director, he has extracted the best, be it from Dheesha, Tara and other newcomers. Imman Annachi performs well. But as an actor, Maran needs to hone his skills. The screenplay gets a bit preachy at times; nevertheless, the intension to impart a good message is obvious.   

Devendhiran’s music and Balaji’s cinematography are adequate.