One wonders what makes Swetha think that she needs to resort to rampant and mostly gratuitous cross- gender hugging to stay afloat on and off screen since her impeccable acting talent and a hefty stunnnerhood will easily clinch the matter. Her hug – centric persona must have generated all the Pre-release blues of the film.  Meera (Swetha) an item dancer on Mumbai pub circuit falls prey to the wont plight of girls of her ilk. Vivek young producer  perpetrates a pregnancy and walks out on her .She attempts a suicide walking into the beach waters. But Syam (Bijumenon) rescues her risking his own life. Syam plys a taxi and Meera has been commuting to the work place and back in it. He has always withheld   from her his deep felt love for her.  An intruding Vivek puts the matter to rest for the time being .But love resurfaces Post – suicide survival and medical cessation of pregnancy sourced from deceitful quarter. They get married in all hurry and a blissful nuptial life ensues. Their lot starts looking up hugely which sees him behind the wheel of a self owned high end car. The scenario proves to be too good to last long. A killer truck rams Syam’s car which leaves him brain dead. Doctors tell a crestfallen Meera that her husband left on life supporting system will be of any utility if only she allows them to harvest his various organs before the inevitable and undelayed switching off of the ventilator. Unable to take a decision she confides in her close friend her traumatic condition .She declares that her plight turns horribly insufferable   because she is to lose her man before he rewards her with a much longed for pregnancy. Her friend being a biologist holding a doctoral degree in the subject alerts her to the possibility of extracting   semen from her brain dead husband and using it to trigger a gestation in her womb. Soon she rings up her gynecologist friend and the latter only confirms it and subsequently an IVF procedure is undergone and it finds its fruition in a consummate child birth. But this happens only after a prolonged media- driven frenzy and close –fought forensic battle.

                                                  The opening scene sees Meera dancing away with erotic abandon with  a virile male cast in rain and slush .In its wake she gloats over  her overdue transition from an item dancer to a filmy heroine though,  the nature of work changes little . A street dance with Meera in the lead turns out to be a high voltage affair of uncompromising quality. Her awesome contours are capable of softening up any unyielding prude. But after this point even Swetha finds it an uphill task to bail out the floundering script. The biologist’s suggestion of an IVF appears too casual and unconvincing. The gynecologist’s holding forth on pregnancy and child birth sounds forced. The feature film part of the movie ends here .Blessy then grows an obsessive compulsive child birth exhibition apologist. In this exercise he leaves no media or faith stones unturned .In sheer desperation he goes from pillar to post to make his film hit theatre screens. His on screen defenders goes into overdrive to make sure that the labour room shots are benign and warranted if not sublime homage to motherhood. Though the film hasn’t got anything to raise hackles of family viewers a misplaced panic on the part of the director ultimately leaves a bad taste in the mouth of his viewers especially in those of the cult segment .Like the Englishman who buys the proverbial chicken hoping to periodically extract both eggs and meat from the same fowl What Blessy ultimately lands is a fiasco .The saving grace is in the form of lovely songs scored by M Jayachandran and penned by ONV. .The Hindi songs also touch a chord. As for acting Swetha looms head and shoulders above the rest.  Bijumenon and Suhasini too have done well.