Charting Fate

Years later, Mohan is a head clerk in a government office, he has a wife and children. 
And he is expecting a new collector in the office.

It turns out that the collector is his own first wife: Asha. 

In a private moment, Mohan clarifies to Asha that he was deceived by his mother, who told him that Asha had drowned in a river. And so he got married again at some point later.

The rest of the film evolves as a love triangle, where Asha is happy to at least see Mohan in the office vicinity; Mohan keeps reminding Asha of her seniority and the fact that she is his boss and Seema - Mohan's current wife - is constantly concerned due to rumours of association between Mohan and Asha.

Apart from the compelling plot, the film makes interesting depictions:

The emerging difference in the economic positions and how they interfere in the personal relationships is something that is constantly emphasized in the film. 

Mohan the head-clerk uses a cycle, but Asha who is a collector, has a car. And she feels hesitant to overtake Mohan on road and so she insists that he take a lift in her car. The car and the cycle as an interruption in a personal relationship, is an annotation of the new dynamics that were emerging in modern economies.

Some of the most dramatic scenes in the film are those wherein there is a merger of the professional and personal dynamics between Asha and Mohan. 

In a scene, when Mohan loses an important office file, Asha and Mohan engage in a conversation about the lost file which constantly becomes an allusion to their lost relationship.    

The film bears a very sensitive perspective towards the women. 

If on one hand, the film showcases Asha as someone who manages to achieve an exclusive social position outstripping the rejection given to her, on the other hand, Seema is shown to be a woman who wasn't allowed to study, yet she is perceptive and intelligent by learning from the struggles of her own life.

Hence, the scenes between Asha and Mohan's present wife, Seema, are very interesting. 

At some point, Asha invited Seema to her place to celebrate Janmashtami. And there they sing the celebratory devotional song for lord Krishna - who was married to Rukmani and not to his childhood love Radha.

In an indirect reference, Seema claims that in a temple there resides only love (for God) nothing else; and Asha responds by saying, that along with love, prayers also reside in the same temple. 
 
With the song as an allusion Seema expresses her apprehension about the  rumoured relation between Mohan and Asha; and Asha on the other responds to the legitimacy of such a relationship through the song itself.

Also in the climax, film-maker SS Balan decided to let the key scene play out only between the women characters: Seema and Asha. 

Ridden with a misunderstanding about Asha and Mohan, Seema runs away to a hill where everyone follows her, but only Asha manages to reach her at the top of the hill to make the necessary clarification.