Disastrous in making
Like why I watched ‘Special 26’ long time back when it was said to be remade in Tamil with Vikram in lead, I watched ‘Ennu Ninte Moideen’ too with the same intention. ‘Special 26’ was a disaster for me, even in Hindi so I wasn’t mighty worried when it went to Surya. But at least ‘Special 26’ aimed low and achieved what it wanted to. ‘Ennu Ninte Moideen’ was disastrous from start to the end, I was waiting to see if at some point, something out of ordinary would happen that would interest me but it never happened. Don’t know what’s going to happen with ‘Mahavir Karna’, which the director, R. S. Vimal calls his dream project. Even though I have high hopes that the film would never be materialized at all, still the agony of Vikram falling into the trap time and again is just unfathomable.
Sometime back, while watching ‘Annayum Rasoolum’ too I had this uneasy feeling where I was struggling to sit in my seat. Because nothing really was happening. I could get that it was trying to do an ‘In the Mood for Love’. Even though it didn’t work for me, at least that inspiration part is understandable. But here in ‘Ennu Ninte Moideen’ it was irritating, especially the voice over for every death. Voice over was disastrous than the deaths. When a death happens in the preclimax, due to which Kanchanamala (Parvathy Thiruvothu) couldn’t come out of the house at 2 PM midnight, I had enough. So, when Moideen (Prithviraj Sukumaran) comes with a passport in the climax, we were like, she couldn’t even come out of the house at night, as if she’d go to a foreign country. So, there was no surprise in the anticlimax of the film. I was in fact happy that one of them died, so that film ended. Just like ‘Dia’, the ending was a relief that the film ended. Wish in both the movies both the leads had died. It would have been far more satisfying.
Indian new gen directors soon should get rid of the thought that slow movie equals to great movie. The audience had to be blamed more than the directors. No matter what anyone says, I couldn’t never accept ‘’96’ to be a great movie. It’s a great thought alright, but the subject is made in a way that if anyone says anything against it, they’d be called impure. That “en pondati pathini” moment. There were a lot of uninteresting scenes along with periodic brilliance. Just that both the leads acted their ass out and some excellent music, saved the film. Otherwise its all about moments, it’s a film which could have been made a lot more interestingly.
But ‘Ennu Ninte Moideen’ is no ‘’96’, there were absolutely no moments. An epic saga out of real life. Even if its so, and its celebrated because its real life, I still couldn’t get the point. The period setting was not something which was extraordinary because we don’t see much of the outer world. It’s just the one bus which happens to come again and again just to showcase that it’s a 60s film. That much detailing, even ‘Pa Paandi’ has. If a film has to be appreciated for detailing, then it must be as good as a ‘Subramaniapuram’, not just one old bus.
Guess it was Prithviraj who got me interested to watch the movie. The way it was proceeding, I thought they both will die and unite in their next life, thus the generic notion that it’s a love story of ages but sadly it didn’t happen at all. Prithviraj was the only respite from otherwise dramatic acting. Parvathy was overtly dramatic with her emotions. With every passing film I tend to hate her. So here it didn’t help at all. She was trying to be too perfect whereas Prithviraj was nailing it completely. Even the last scene when she enters his house, the way he looked at the camera felt so soothing. Parvathi could never do it throughout the film with any number of smirks.
It still baffles me as to why the film was approved by audience all around and made it into a highest grosser. Is it a story as famous as a Laila Majnu or a Romeo Juliet or am I missing something?
constantscribbles 