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Right at the start, Moideen announces that he cannot agree to the marriage his father has arranged, because he is in love with Kanchan (a Hindu). Because that is their tragedy, that nothing ever changes. The brilliance of the structure of this film is that it is purposefully repetative. And now I can get into spoilers! SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS It feels like the happy ending is within our grasp, just a few minutes away.Īnd then the film pauses at that same “almost to the happy ending” point, never quite moving past it. They decide they cannot be separated and agree to let their families find out, and then be married. Sridevi is already totally committed, she will never consider anyone else, no matter how much Rishi loves her, it just cannot happen.Īnd since we come in at the end, the culmination of the romance happens very quickly. It’s like Lamhe, at least the first half, with Sridevi and Anil. But it is too late, no matter how much he loves her, he can never be with her.
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We see him in the background, watching her, mooning over her. This is especially important since there is a 3rd leg of this triangle, Parvathy’s cousin. The filmmaker never wants us to see them as separate people, wants us to understand that in ever scene so far, even when they were separated, Moideen and Kanchan were already united, already together, already committed. So, what’s up with that? Especially when it is followed by a love song that seems to weave in and out of time, never clear as to when was their “first” meeting.
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But it’s not the first time she has received such a package, the nun mentions it, and she seems to know how to read it. He sees her on the bus back to school, and she gets a coded message from him when she arrives (a book with words underlined). In contrast to how Moideen is best at confronting his father within his home, effecting change there.Īnd then the love story starts without us even seeing it start. And fourth, showing how she belongs in the world, how she has such promise and ability to effect change there. This introduction serves a couple of purposes, first showing the fire within her, secondly showing what a matched set they are (both questioning authority), third making us like her. He is in their home village, fighting with his father, while she is off at school, fighting with the nuns. In this, if anything, Prithviraj is more “at home” than Parvathy. Situating her as “home” and Shahrukh as “abroad”. Again, going back to DDLJ, Kajol in that had a very traditional heroine introduction, showing her within the home and the family, the “proper” places for female work. Our heroine has a really interesting introduction. Oh, and this is “25 years since independence”, so I guess 1962?
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And, just like Shahrukh, Prithviraj scores a goal! The crowd cheers! He’s our hero!!! And, like Shahrukh, he’s kind of a rebel and a wastrel, specifically working with the local communist party against his father, an old Congress man. Showing that the personal is in fact the biggest political statement you can make.Īnd then, DDLJ! No really, our first glimpse of our hero is playing soccer in the rain, just like Shahrukh playing rugby the first time we see him in DDLJ. That they wanted us to go into this film thinking there would be a big public political statement happening, and in the end it was personal. I’m not sure if that is the assumption the filmmakers wanted me to have, but I think it is interesting if it is. My immediate thought is that this very dignified older man killed his son because his son was a radical Naxalite. In the very very opening, the radio is talking about a Naxalite attack (I assume this would give the Indian viewers an idea of the time period this scene is taking place in), and an old bearded man walks into the police station, throws a knife on the desk, and says “I killed him.” Even though we start with a flash-forward, so we sort of know what is coming, but not everything. I assume the story is fairly well known, but I am still going to worry about spoilers a little, because I think the film was constructed so that the audience wouldn’t necessarily see what was coming. But I’m not sure if they expected me to be yelling at the screen “WHY ARE YOU ALL AWFUL?!?!?!?” And that the filmmakers wish it hadn’t been like this. I understand this is a true story and they had to show it as it actually happened. It was SO FRUSTRATING! But I’m not sure if I was frustrated because that’s how the filmmakers wanted me to feel, or if I was maybe a little more frustrated than they expected. I finally watched Ennu Ninte Moideen! After people telling me and telling me that I should see it.