The conviction with which the sorrowful story of two lovers in the orderless era of immediate post-independent India is crafted is enough for one to consider watching the film. The glaring facts that a low-bred, socialism lover named Moideen (Sukumaran) born in a political family and Kanchana (Menon), a rebellious girl, from a noble family are in love and will not be allowed to get together wreaks havoc in their lives, and on the way goes on to wreck the lives of the people they know and the people who know them, all in the name of caste and religion, two of the ugliest man-made inventions ever.
R S Vimal's adaptation of a seemingly original story has all the elements that can even fire up emotions in a wooden plank. His spearheaded handling of the talented cast, clever exclusion of anachronism, thorough attention to details, and the slow-burning screenplay all makes for a high-octane 150 minutes. However, the story is what I personally had problems with. Not to mention the lack of coherence in the first two acts, the final acts look as if they were voluntarily muddled so as to boost the degree of tragedy that follows and which the story magically culminates in. Manipulation may look good in an Engineering student's Science journal, but when you sample it in a love story just so you can remain faithful to the sub-genre, it reeks of veneer.
Brilliantly timed background music tries to get away with plagiarism, but that is not a problem. John's camera work is, as always, impeccable, and that is why, the film is at least a good run for one's money. It is not like tragedy is synonymous to being noteworthy, otherwise my life would be a masterpiece. Once you understand that tragedy has a greater effect on you than in perceiving the other, positive side of a clichéd romance story, you will start noticing the cavities hidden in the concoction.
Brownie points for using the word "slipshod" in the subtitles.
BOTTOM LINE: R S Vimal's ambitious Ennu Ninte Moideen is surely a remarkable film about two lovers' ill-fated journey together, but to dub it as the greatest... or even one of the greatest love stories of Malayalam cinema... is like saying Nivin Pauly is a greater actor than Mohanlal just because he is shining right now.
GRADE: C+
Can be watched with a typical Indian family? YES
R S Vimal's adaptation of a seemingly original story has all the elements that can even fire up emotions in a wooden plank. His spearheaded handling of the talented cast, clever exclusion of anachronism, thorough attention to details, and the slow-burning screenplay all makes for a high-octane 150 minutes. However, the story is what I personally had problems with. Not to mention the lack of coherence in the first two acts, the final acts look as if they were voluntarily muddled so as to boost the degree of tragedy that follows and which the story magically culminates in. Manipulation may look good in an Engineering student's Science journal, but when you sample it in a love story just so you can remain faithful to the sub-genre, it reeks of veneer.
Brilliantly timed background music tries to get away with plagiarism, but that is not a problem. John's camera work is, as always, impeccable, and that is why, the film is at least a good run for one's money. It is not like tragedy is synonymous to being noteworthy, otherwise my life would be a masterpiece. Once you understand that tragedy has a greater effect on you than in perceiving the other, positive side of a clichéd romance story, you will start noticing the cavities hidden in the concoction.
Brownie points for using the word "slipshod" in the subtitles.
BOTTOM LINE: R S Vimal's ambitious Ennu Ninte Moideen is surely a remarkable film about two lovers' ill-fated journey together, but to dub it as the greatest... or even one of the greatest love stories of Malayalam cinema... is like saying Nivin Pauly is a greater actor than Mohanlal just because he is shining right now.
GRADE: C+
Can be watched with a typical Indian family? YES