Anna Nee En Deivam

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Baskar and Vasanthi are college-mates. A naughty girl creates misunderstanding between them, and an enraged Vasanthi complains to the college dean, who immediately dismisses Baskar. Now left homeless, Baskar however manages to get employed at a tea company, and gets to stay with his close friend Sampath. Vasanthi approaches Baskar and apologises for her cruel act. Baskar forgives her, and they both fall in love. Vasanthi lives with her mother and her elder sister Geetha who is unmarried. Baskar rents the vacant portion of their house. Over time, Vasanthi passes her exams and gets employed.

A happy-go-lucky guy falls in love with his professor's daughter. Although his brother supports him, his financial situation forces him to make many sacrifices in life.

An honest police constable has a son (R. Muthuraman) and a daughter (C. R. Vijayakumari). Balaji, son of a rich affluent person is a friend of Muthuraman who often visit his house. Balaji falls in love with Vijaykumari to which she equally reciprocates. She meets Balaji secretly without the knowledge of both her father and brother. One day, Balaji's notorious friends commit a murder and they fled the scene using Balaji's car. At the same point of time, Balaji meets his love in a temple and promises to marry her. Meanwhile, Balaji's father plans to marry his son to one of this relative. Balaji initially discards this proposal but accepts after coming to know that he will be deprived of his father's wealth if he doesn't marry the girl arranged by his father. Vijaykumari is shocked to hear this and finally tells her relationship with Balaji to her parents.

The movie centres around the life of Vani (Latha), a middle-class woman who lives with her brother, his wife and their chirpy teenage daughter Vasanthi (Subhashini). Victor (Nagesh), a mechanic, is their family friend. Victor introduces Vasu (Vijayakumar) to Vaani's family when they are looking for a tenant and Vasu moves into the top portion of their house. Vasu is deeply in love with Vani but is disappointed to find that Vani is already romantically involved with Venu (Jaiganesh). However, Venu turns out to be lecherous and deceitful and he vanishes from Vani's life after being physically intimate with her one night after a party.

Sreekanth is a famous psychiatrist and has earned much praise from his mentor and people in the town. He is in love with Venniradai Nirmala. One day he is assigned a task to cure a mentally unstable women (Jayalalitha) who lives in Kodaikanal. Srikanth informs about this to his lover and request her to wait for him until he finishes this case. Srikanth promises he will return for her and sets out to Kodaikanal. On arriving, he is welcomed by Jayalalaitha's parents who are very much distressed with their daughter's condition. Srikanth questions them about her past but they conceal initially as it might have a severe consequence on her future. Upon reiteration that knowing her past will be very useful for him to cure her, Jayalalitha parents reveal her awful past. Jayalalitha at a very young age got married and within hours, the couple meet with an accident and her spouse dies.

Kulirkaala Megangal is a 1986 Indian Tamil film, directed by C. V. Sridhar and produced by K. S. Srinivasan and K. Sivaraman. The film stars Arjun and Sadhana in lead roles. The film had musical score by Sankar Ganesh.

Widower Ramlal lives a wealthy lifestyle near Poona, India along with two daughters and a son. His daughter, Malti, is a Science Graduate; Nirmala, a matriculate, and the son, Atma, who wants his dad to finance a Hindi film which he himself will produce under the banner of 'Wah Wah Productions'

Murli (Rajnikanth) and Prabhu (Kamal) are owner and manager respectively, of an advertising agency in Madras. Prabhu has been raised by Murli's family, and feels greatly indebted to them. Prabhu is in love with Padma (Sripriya), but a misunderstanding leads them apart. In the meantime, Murli meets and falls in love with Padma.

The film deals with a triangular love with a good measure of values of the high society and those of liberal culture of the 60s.