With the huge success of Oru CBI Diary Kurippu, Malayalam hero Mammootty became quite popular among the Tamil viewers. Several other Malayalam movies of his were released thereafter, either in Malayalam or as dubbed flicks. Following their modest success, Mammootty soon entered the Tamil field with Mounam Sammadham. In this movie helmed by K.Madhu, who has directed several thrillers including the aforementioned Oru CBI Diary Kurippu, Mammootty plays it safe by sticking to his popular image and portraying a lawyer investigating a murder.

Sundaram(Jaishankar) has been charged with the murder of his brother's(Sarathkumar) wife Vijayalakshmi. But everyone around him, including his sister Hema(Amala), strongly believes in his innocence. Raja(Mammootty) is a successful lawyer in Delhi and is requested to take on the case by Sundaram's lawyer(Y.G.Mahendran). Initially hesitant, Raja accepts the case when he realises that Hema, with whom he has had a couple of run-ins earlier, is Sundaram's sister.

The movie lacks the pace needed needed to make a thriller work effectively. While the romantic asides can be forgiven given the commercial constraints of Tamil movies, the investigation itself is mild and lacks energy. There are a few leaps of intuition by Mammootty that are never explained. The police and Y.G.Mahendran, the lawyer working on the case so far, come off as completely ineffective as Mammootty goes about finding clues that should have caught their eyes. For instance, the greeting card, the most important clue that directly leads to the murderer, is in a shelf in the dead woman's room and nobody seems to have looked at it until Mammootty comes along.

A whodunnit is most effective when it reveals the murderer to be someone who has been before our eyes all along (as in Puriyaadha Pudhir). But viewers here have no chance of guessing the murderer, who comes out of the blue. But the person having complicity in the murder is a nice surprise. But here again, the movie does not offer us many options. One of the key elements in a murder mystery is guessing the real murderer among the multitude of characters. The movie lacks this with few characters to lay the suspicion on. The red herrings along the way are also not very effective in shifting our attention with the blatant acts of some of those involved making their innocence apparent.

Inspite of his charm and sex symbol image, Mammootty has typically been known as a touch-me-not hero in Malayalam with minimal physical interaction with his heroines (in fact, he never even had a heroine in movies like Oru CBI Diary Kurippu). Here too, his romance with Amala is mild at best with the better part of their meeting resulting in verbal fights rather than romance. There are a few laughs in her initial misunderstandings on seeing Mammootty in one bad situation after another. Her apology to him later is also delivered in a believable manner.

Mammootty has no difficulty with his tamil and his ample histrionic talent is not put to much use either. Amala looks pretty but has nothing much to do apart from sparring with Mammootty initially and regretting it later. Sarathkumar, in his pre-stardom days, has precious little to do. Nagesh plays a politician with an axe to grind and his Malayali assistant provides the movie's few funny lines. Kalyana Thennila... is a melodious number from Ilaiyaraja.