Thoughts on a Malayalam documentary (and the movie it inspired) about star-crossed lovers who rival Laila-Majnu, Heer-Ranjha, Ambikapathy-Amaravathi…
Why do we love love stories so much? I’m talking about the genre, which we never seem to tire of. When Ram Gopal Varma made Satya and Company, we raved about them, but when his follow-ups were more stories about gangster life, we began to complain. The same thing, we said. But with love stories, there’s no complaint. We may dismiss individual films, based on how they turn out to be, but – again – I’m talking about the genre. We don’t say, Oh, I saw a love story last week, so I won’t see one this week. “Keep love in your heart,” Oscar Wilde said. “A life without it is like a sunless garden when the flowers are dead.” He also said, “To love oneself is the beginning of a lifelong romance.” Wherever on the spectrum we fall – coupled, single, “it’s complicated” – love stories get us. They get us good.
Ennu Ninte Moideen – a smash hit in Kerala now – is the love story of Kanchanamala (known as Kanchana) and Moideen, who belonged to aristocratic families in the village of Mukkom, near Kozhikode. As children, they studied together, they were just friends. The story of how the relationship drifted to a different plane is best told by Kanchana herself. “After one vacation, my brother was taking me back to [boarding] school. We were an orthodox family. And girls were not allowed to travel by bus. So usually we travelled by car to Kozhikode. But that day, my father’s car was under repair. And so we travelled by bus. During that journey in that green bus, I suddenly noticed in the mirror a pair of brownish eyes watching me. Beautiful brownish eyes. Then I saw a smile. And those little white teeth. When I looked closely, I realised it was Moideen. I think it was at that moment that my feelings towards Moideen changed.”
Ennu Ninte Moideen is a fictionalisation of this real-life romance, but these words aren’t from the movie. They’re from Kanchana herself, who looks back on her life (and her love) in the 2007 documentary Jalam Kondu Murivetaval (One Who Was Wounded By Water), directed by RS Vimal, who also made the film. I saw the documentary after the film, and it’s spooky – there’s no other word for it. Two lovers from different religions being kept apart by their families – there’s nothing new about that. But when these two continue to “meet” even after she’s under house arrest for almost 25 years – through random sightings, through letters written in a script that only they could understand, through marriage proposals she kept rejecting – and when you hear that for 10 years in the middle, they did not see each other at all… You have to wonder about the madness that kept them going.
That’s what a friend called it, madness. “The human brain doesn’t pine like that,” she said. “You just meet other people and you move on.” I said you cannot generalise these things. And you really cannot. The mysterious processes of attraction are beyond reason, which is why we root for Florentino Ariza as he pines for Fermina Daza across decades. What Márquez wrote about in fiction, Moideen and Kanchana seem to have lived through in reality, with fevered episodes that aren’t all that far from the ones in Love in the Time of Cholera. Kanchana says, “It was November 23, the day our silence came to an end [after 10 years]. I still remember the date. We got into the boat. Suddenly, Moideen took something from below my feet. Later, I asked him about it in a letter. He said it was the soil from under my feet. He had kept it.”
This episode is in the film, but we don’t feel it the way we do when Kanchana talks about it in the documentary. Ennu Ninte Moideen is not very well-directed – it’s too straight, too bloodless, too timid, too sober. You keep wishing for a filmmaker mad enough to lead us into this mad love, which kept going even after Moideen’s death in an accident. (To this day, Kanchana calls herself his “widow.”) But even with its limitations, even with flatly written characters and plodding narration, the film strikes a chord. Several chords, in fact. Because this is really the most ideal kind of love, one that’s not tainted by realisations that the young man who floored you with red roses now has bad breath and a snoring problem, or that the girl you thought was God’s angel put on earth doesn’t do a thing without long discussions with her mother. This kind of love keeps love in the refrigerator, prevents it from curdling in the face of scorching reality.
We respond to the film because few among us have experienced a love so mythic – it’s the amative equivalent of cheering for Erik Weihenmayer, the blind man who conquered Everest. The most startling moment in the documentary comes when Kanchana speaks of Moideen’s death. “We say sati (self-immolation) should be banned. I believe that a woman wouldn’t really mind jumping into the pyre of her beloved. Because I believe that if there was a pyre that day, I would have jumped into it. The pain I suffered was such.” Who can resist the thought of loving so much, being loved so much? The documentary keeps cutting to a picture of a man and woman – Moideen and Kanchana, I presume, though how they managed to sneak out and pose for a photograph is a mystery neither the documentary nor the film addresses. He’s behind her, his face pressed close to hers, and they’re looking at the camera. Call it corny, but the outline of their faces forms the heart-shaped ideograph that universally denotes love. Coincidence, surely. But some spooky corner of the mind keeps whispering that it’s… destiny.
An edited version of this piece can be found here. Copyright ©2015 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Abhirup
October 31, 2015
Mr. Rangan, since you seem to be at the MAMI now (my apologies if you aren’t), I want to ask you if you have seen ‘Aligarh’, and what you think of it if you have. Thanks.
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Anu Warrier
October 31, 2015
That’s what a friend called it, madness.
I can believe it, that love. To love like that, to be loved like that? I don’t know if one can feel so much, and not die a thousand deaths.
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Gautham Jayan
October 31, 2015
I wanted you to watch this movie. I liked this movie, but I thought their epic love story wasn’t well written in the screen. You could also catch up two good malyalam movies first, Mammotty starrer Pathemari directed by National award winner Salim Ahmed (Adaminte Makan Abu) exploring life of a NRI. And Rani-Padmini a road movie taken by two women, directed by Ashiq Abu (22 Female Kottayam). Looking forward for more writing from you on Malayalam movies
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MANK
October 31, 2015
Brangan, I think you were rather harsh on the film. May be comparing it too much with the documentary. Sure it is a little flat and timid. But these inter religious love stories are recipes for controversy. Remember Bombay. So a little timidity is expected. Its really funny – but the truth is that a feature filmmaker doesn’t have the freedom of the documentary filmmaker. Even then it has become controversial with kanchanamala herself going to court against the film.
I thought it was a very beautiful film visually. The photography, period design, it was wonderful.
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MANK
October 31, 2015
Yeah, the writing was not up to the mark. The director being from documentary filmmaking was more adept at the visual aspect of the film than the script or characterisation. But I felt that the film was several notches above the fare that one is treated to at the cinemas week after week
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brangan
October 31, 2015
Abhirup: Couldn’t catch Aligarh.
MANK: I didn’t find it visually very good either. Certainly nothing like Premam or Bangalore Days in terms of cinematography, staging, framing… I thought the biggest plus of the film was that, despite it being so ordinary in terms of script and tech values, it still evoked a powerful emotion. That, to me, was the film’s success.
Reg. “timidity,” I wasn’t talking about controversy. More about how intangibles like time dilation, yearning need a cinematic representation. Like how in some films we feel the years pass even without a title card telling us “X years later…” That wasn’t happening at all here. The filmmaking was very conventional.
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Supertramp
October 31, 2015
Yes, the film didn’t do justice to their story. But I was intrigued by the use of rain and wished they used in some more places like the climax. As for cinematography I thought the Dop did a wonderful job, but at the same time without a proper film maker’s contribution (So agree with the staging, framing part).
Even when I listened to some of the interviews with the film maker (Media guy turned docu film maker) felt like his sole contribution was knowing the real story. In that sense he didn’t take the real story and take it somewhere higher, even though I felt like he was set out to make an epic and fell yards behind.
Moideen in reality seemed a much more political person and Kanchana too an activist. Film isn’t interested in it, which is fine if the film didn’t make u feel their yearn. Their story deserved some Wong Kar Wai like yearning. Again this is about Malayalam cinema trying to do interesting stuff in the mainstream space, but I am beginning to think the time has come for the industry to take the step to the next level.
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Rohit Sathish Nair
October 31, 2015
Baddy, glad to know you watched this film.
Do agree with you on the narration part… Found it a bit too slow in the first part, while things got better in the second half. The slo-mo was irritating at times, and so was the way graphics was used in the scene where he dies.
Thought the performances by the leads (if not perfect), and others like Kanchana’s cousin, could mostly transcend the mostly ordinary writing. Felt that the cinematography, though good in parts, robbed the film of its period feel, as the staging and framing did. Aren’t you comparing apples to oranges with the reference to Neram and Bangalore Days?
The music and BGM for me, at times, could convey things the writing couldn’t (as in Bombay).
In short, it did have the shortcomings most debut films do, but it does strike a chord. Would like you to watch Pathemari too
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anandkj
November 1, 2015
Brangan sir was looking forward to this review. Surprised to see that you were not satisfied with the film. I agree with Mank I felt you were a bit too harsh on the film.
the film was largely fictional, they haven’t brought the entire Moideen’s family into the story. we didn’t see his siblings in the film. Moideen’s brother is there in the documentary and his name is in the opening credits (story) of the film. This was an out and out commercial mass film in the disguise of a classic. they were smart. they have tried to make this movie accessible to masses by bringing in lot of humor and over the top sequences. if they had stick to the real story this would have been like Annayum Rasoolum which was a terrific film but didnt find much audience. This movie has reached cult status because of its accessibility. As an outsider you might be able to judge the movie in a better way on other technical aspects so I completely surrender to your judgement on direction and its flaws. but i thought it was worth the hype compared to other recent Malayalam movies.
Regarding the script being too straight and not following Kanchana’s life after moideen it was quite evident from the start that this is about Moideen (hence the name Forever yours Moideen )and his story. All recent biopics in Malayalam have been male centric. You can’t expect that to change quickly as we don’t have many good leading ladies who can pull of substantial roles (parvathy was impressive in this) effectively. Kanchanamala’s life is not entertaining enough to be a mainstream film. it would have been like an art house movie which defeats the purpose. The trailer clearly told us how to set the expectations.
They didn’t use Moideen’s political leanings properly. That was the main drawback. They just exploited the his communist leanings to get further leverage. All recent hits suggest that a trailer should highlight a rebel hero with communist background and a dialogue about the depth of his love for the partner. this is is a ground rule for any film targeting youth. if it needs to target the elder citizens and this is the right mix. You can’t complain on nostalgia as this is more of a period film. So I think it was a well made film with good performances. i thought since you compared it with the documentary you find it a bit underwhelming.
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Rahul
November 1, 2015
Abhirup, Aligarh seems like a cracker, man, thanks for the tip!
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sachita
November 1, 2015
“That’s what a friend called it, madness. “The human brain doesn’t pine like that,” she said. “You just meet other people and you move on.”
It depends on the conditioning of brain. My thought process is similar to your friend, more pragmatic. But I have couple of friends who put a lot of value on first love and think there should be only one love for their whole life. Considering we all come from similar background, I was surprised when I first heard them say so.
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ThouShaltNot
November 1, 2015
Intha maanida kaadhal ellaam oru maranaththil maari vidum, andha malargalin vaasamellam oru maalaikkul vaadividum, nam kaadhalin dheebam mattum endha naalilum kooda varum…
So goes the old movie song titled “Oraayiram Paarvaiyilae, un paarvaiyai naan arivaen, un kaaladi Osaiyilae, un kaadhalai naan arivaen…” Kanchanamala’s love epitomizes this. Her love is unblemished, for eternity. Haven’t seen the movie (would love to, but the documentary above is good enough) – touching yet beautiful story.
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tonks
November 1, 2015
The ancestral house (of Moideen) used for the shoot belongs to my aunt (and is a house that’s been used in movies before this one). After the huge success of this movie (our second show was house full on a week day and a lot of people were turned back disappointed) she was saying how there are now busloads of curious people coming down to have a look at the house : some of them mistakenly thinking that it actually in reality once belonged to the hero.
I liked it that the torrential monsoon (at the top of the list of the things I love about Kerala) is a dominant theme in this movie: it rains over paddy fields, over the river, over foot ball matches, over most of their crucial moments and a father son confrontation (where there was an unusual shot from above of the raindrops as they fall down). The underwater shots of Moideen rescuing the other people who had capsized were, I thought, taken well.
Good performances from the entire cast (which is probably what left most people in the theatre embarrassingly wiping their tears when the final lights came on) especially Prithviraj, Parvathy and the two people who played his parents. If you didn’t know that it all actually happened, you would have thought the story too far fetched to be true.
And finally:
Why do we love love stories so much? I’m talking about the genre, which we never seem to tire of
Coincidence, but this song was playing on my car pen drive today evening :
” You’d think that people would have had enough of silly love songs
I look around me and I see it isn’t so
Some people want to fill the world with silly love songs
And what’s wrong with that?
I’d like to know”
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Varshini
November 2, 2015
Like you have mentioned Mr.Rangan, the time lapse could hardly be felt – when they meet suddenly after ten years, at the boat house – and they can’t believe that they both are actually infront of each other, that’s probably the only scene where I felt some of that emotion.
The characterization / shots of Moideen’s father were also botched. All the shots involved the car (Mercedes I believe, they kept zooming onto the symbol) from different angles, this man towering like a mountain – I wish they had not made him into this ‘masala’ character, was very jarring in comparison to the rest of the film.
Lastly, the friendship between the two fathers which was one of the key reasons why Kanchana stayed in the house despite Moideen asking her to come away, they just left that hanging.
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NeDhaPa
November 2, 2015
“The same thing, we said. But with love stories, there’s no complaint.”
You should expand more on this thought line. You will find nuances and meanings that are metaphysical or meta 🙂
I would think that certain relations are not just from this birth.. connections deep… ancient… not time bound…
The heart shape in the photo: good observation… I would have missed this had you not pointed out.
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brangan
November 2, 2015
Varshini: Agree with the point about the friendship between the fathers. It’s supposed to be this great thing — yet, it’s only during the bail scene do we see them together again. Ditto with the friendship between Moideen and Kanchana’s brother. The latter, instantly, becomes a masala villain — dragging her out of her hostel and all. Surprisingly black-and-white characters given the rest of the film’s tone.
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Reuben
November 3, 2015
Sorry for the off topic comment. Have you watched Titli? If so any thoughts of writing about it?
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Rohit Sathish Nair
April 21, 2016
Sir, do you think Mani Ratnam could do full justice to this material?
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Tony
May 17, 2016
Hello Brangan,
We would like your views on the movie ‘Maheshinte Prathikaram’. If you have not seen this already, please do watch it; we would love to know your views on this.
IMHO, ‘Ennu Ninte Moideen’ received far more accolades than what it deserved. To be very fair, i was bored after a point. I understand that the real love was strong, but it was never conveyed to us in the movie. The movie, after a point, actually made us feel that they never really wanted to be together. (again My Opinion)
Regards,
Tony
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