Mohanlal plays Raju, an orphan trying to make a living as a tourist guide in the misty hills of Kodaikanal. His efforts are repeatedly thwarted by the local police inspector nicknamed “Minnal,” Lalu Alex who keeps a tight leash on the town and its outsiders. The opening tension lays the groundwork for a story about belonging, struggle, and the tenderness that can bloom in unlikely places.
Raju’s world expands when he is taken in by Padmavathi, played by Jayabharathi, and Nimmy, portrayed by Karthika. They treat him like family as he becomes a constant presence in their temporary bungalow, sharing meals, stories, and a sense of safety he hasn’t known before. Nearby, Vishwanatha Menon, portrayed by M G Soman, welcomes him into the group, offering warmth and guidance that contrast with the town’s rough edges.
Vinod, the couple’s spoiled son, soon arrives and injects a new energy into the household. He is a troublemaker who delights in taunting Myna, a local girl whom Raju regards as a sister. Myna is brought to life by Rohini, and her presence adds a hopeful, humane thread to the melodrama surrounding this makeshift family.
As days pass, Nimmi falls in love with Raju, a development that complicates loyalties and feelings within the household. The tension deepens when Vinod, fearing exposure or a reversal of his own standing, accuses Raju of stealing his mother’s jewellery. The charges spiral until the missing jewels are found tucked away in Vinod’s bag, and the fragile peace among the group shatters into suspicion and resentment.
A violent rift erupts between Vinod and Myna when Vinod taunts her again. Myna pleads for mercy, but Vinod’s cruelty escalates, driving them into a dangerous chase through a forest toward a cliff. Myna’s pleas for safety are met with Vinod’s chilling smirk, and tragedy follows as Myna loses her footing and falls. Appu, Myna’s lover, later reveals to Raju that Vinod is responsible for her death, shedding new light on the heartbreak surrounding this fragile family.
Grief propels Raju toward withdrawal, but Father Fernandez, the kindly head of the local orphanage, steps in to offer direction. Prathapa Chandran brings Fr. Fernandez to life as he hands Raju a letter and hints at help for finding a job. He also reveals a photograph of Dr. Jayadevan, an old friend, triggering Raju’s cautious curiosity and a desire to uncover the truth about his birth.
What follows is a revelation that changes everything: Raju is Padmavathi’s son from a pre-marital relationship with Venugopal, a connection that was buried after the death of Venugopal in an air crash. The memory of that past, coupled with Dr. Jayadevan’s presence in the photograph, compels Raju to confront his mother and the life he might have shared with her. The family’s understanding of their shared blood ties awakens a new, uneasy bond among them and alters how they view Vinod’s betrayal.
Vinod, released on bail, plots to kill Raju to erase the threat he feels looming over his own neck. As the family wrestles with the truth and their rewritten loyalties, the tension between past and present comes to a head. The truth about Raju’s lineage brings a poignant sense of belonging but also a dangerous vulnerability that neither Vinod nor the others fully anticipated.
In a final, heartrending twist, Raju is killed by Myna’s father, Ponnayyan, who had been aiming at Vinod for killing his own daughter and for attempting to kill Raju, whom Ponnayyan had begun to think of as his own son. The tragedy closes the chapter on a tale of kinship, sacrifice, and the heavy cost of secrets, leaving the surviving characters to reckon with what might have been and the memory of a life cut short. Karamana Janardanan Nair brings Ponnayyan’s grief-filled fury to a heart-wrenching close, underscoring the film’s somber, reflective mood.
