On the negative side,the second half looked a bit over-trimmed for the sake of gaining pace and reducing the length of the movie.Rest of the minor loopholes in the screenplay are easily negligible.Its evident that the story will easily connect with both families and youngsters and as such the movie is sure to make it big in both box office along with critical consensus.
The remodeling of the period was brilliant and mixing up the social scenario of then with the love-story was done impressively by the director who has written the screenplay by himself.Rain comes forth as the heart and soul of the narration,symbolizing the emotions of the protagonists and their hopes throughout the narration. The fact that Vimal could succeed in presenting the cinematic version of a real life love story without going over the top by itself is truly remarkable and the débutant can be proud of the fact that he could give full justice to the eternal love between the Moideen and Kanchanamala. Set in and around 1960's Calicut,the biographical period drama is a touching affair altogether that's blessed with some stellar performances from the lead pair,hearty narration,sumptuous visuals and emotionally moving background score.One will instantly feel banded together with the intense love between the central characters due to the genuinity in narration by Vimal and the intensity that both Prithviraj and Parvathy shower to the characters invested upon them. The poignant tale of Moideen and Kanchanamala separated by society and fate with one voice is well-known to all and débutant R.S.Vimal who earlier released a documentary on the same titled 'Jalam Kondu Murivettaval' have come up with a silver screen depiction of the same,the result being a memorable cinematic experience. GRADE: C+ Can be watched with a typical Indian family? YES is like saying Nivin Pauly is a greater actor than Mohanlal just because he is shining right now. or even one of the greatest love stories of Malayalam cinema. 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. Brownie points for using the word "slipshod" in the subtitles. 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. It is not like tragedy is synonymous to being noteworthy, otherwise my life would be a masterpiece. John's camera work is, as always, impeccable, and that is why, the film is at least a good run for one's money.
Brilliantly timed background music tries to get away with plagiarism, but that is not a problem. 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. 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. However, the story is what I personally had problems with. 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. R S Vimal's adaptation of a seemingly original story has all the elements that can even fire up emotions in a wooden plank. 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. 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.
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