I would gladly disregard the minor hiccups here and there - like the few attempts to bring in a smile in the otherwise somber proceedings - and hand it over to Vimal, for having played it out evenly, and through some exceedingly striking dialogue let it gently crawl under your skin. There are instances galore in 'Ennu Ninte Moideen' that make you wonder of their authenticity, but its common knowledge that the oft-discussed real life tale, has enough twists and turns in it that will leave any listener astounded! Love is more of an intellectual quest here, and the body is peculiarly immaterial, as their finger tips that remain so close and yet so far away, prove time and again. That it never did is another matter altogether, but what makes their tale so radically dissimilar to any that we have heard before, is that they never failed to let the sunshine caress themselves, as they hung on to a frail strand of hope. Morris West would have been astounded at this fabulous account of waiting that goes on and on of two love stricken souls who never waited for the storm, but instead unwearyingly lingered around for the tempest that had engulfed them, to pass by. Which is why the usual beats assume a spectacular power in the film, with the film maker and his performers infusing a rare might into this heartbreaking account of how everything - society, fortune, destiny and nature itself - transpires against a couple hopelessly in love, hurling them onto a whirlpool of doom. One does not exactly expect 'Ennu Ninte Moideen' to break any new ground, since this is a story that thousands of couples have gone through - before and after Kanchanamala and Moideen came along - and yet, if it still manages to leave you all shaken up, its courtesy the honesty in its depiction and the countless ways in which it seeks to subvert our expectations of how it would all ultimately turn out to be. Love strikes, with disastrous consequences. She deciphers the message in it and discovers that the man who has confessed his love for her is none other than Moideen ( Prithviraj), who is renowned as a budding Socialist at Mukkam. Kanchanamala ( Parvathy) is surprised when she receives an anonymous package at the Medical College hostel, from an admirer. A pithy, well-acted and remarkably crafted film, this devastating narrative of love, comes across as a true celebration of the tender, expectant spirit that lies deep within it. Last with 'Celluloid' which educated the modern audience about the founding father of Malayalam Cinema-JC Daniel.'Ennu Ninte Moideen' is a slow-burner that invites its viewers to soak themselves in a compelling romantic tale that is prudently drawn from real life. Special Kudos to Prithvi for taking this up and bringing the real story of Moideen and Kanchana to the people.He does this on a regular basis. Special mention for Parvathy- Took me a while to figure out it was the same Bangalore Days Girl (Sarah)-Seems to metamorphise effortlessly depending on the character and Saikumar-Playing Prithviraj's dad. The background music and the songs add to the tragic air.Ībove all lifted to the next level by some brilliant acting-Prithviraj, Parvathy, Saikumar, Lena, Bala, Tovino Thomas and everyone else-even the small role actors. The 60-s-70's period has been depicted very well. Beautifully shot with rain and a river as constant characters. It is not an entertainer by any means and moves at an even pace. As per what I read, all that has been shown is based on true facts and there is no cinematic liberties.
#Ennu ninte moideen red camera movie
But this is a movie based on a real love story between a Muslim boy and a Hindu girl that happened in a small town in Kerala in the 1960's-70's period. If this was purely a fictional movie, most folks would have laughed at it thinking- 'Come on, can such love stories ever happen'.
Would rate it below Drishyam, Memories, My Boss and Detective.Įnnu Ninte Moideen-Malayalam (With Sub titles)- PrithvirajĪ movie that backs the old saying- 'Truth is stranger than fiction'.
Beautifully shot but felt the heavy use of VFX which made some of those picturesque locations look artificial.įew laugh aloud moments sprinkled across courtesy Dileep and his side kicks (Joby, Pashanam Shaji). Not really boring, not difficult to sit through- but not to Jeethu Joseph standards. It flows at the same pace and concludes in an unsatisfactory fashion. But unlike his other movies where the 2nd half takes off in a different plane, nothing much happens here. Starts off slowly in typical Jeethu Joseph fashion, and most of the first half is spent establishing the characters and the context.
Jeethu has been careful to call out before the release that this is not a thriller and it is just the life of a common man. Jeethu Joseph's first venture after the hugely successful Drishyam (and Tamil Papanasam) ends up being a very average fare. Life of Josutty-Malayalam- Dileep- Directed by Jeethu Joseph