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While paying homage to every single rain romance in history, it also represents the stages of the characters’ love. But yes, the rain remains a consistent symbol throughout the film. It rains cats and dogs throughout the film, providing enough liquid to feed Moideen’s pens and a million more letters, if he ever chose to write using transparent, watery ink. As the story progresses, they age, but what remains constant is their love for each other. Moideen and Kanchana transcend every societal limitation, every single constraint, and you, Sir, have elevated them to the status of near-deities (a Radha-Krishna bond, if you will). Their love overcame unnecessary present-day labels as well as the trivial validation that is usually provided only when lovers experience physical intimacy together. Moideen and Kanchanamala were very much creatures of flesh and blood (in fact, it is stated that the latter is still alive): stubborn individuals who miraculously trusted each other and their respective feelings, enough to keep waiting for each other for ages. “Move on!” we wish to scream, along with, “It is futile!” and “How much longer?” (Well, 168 minutes of pure, undying love.) Yet, there is something beautiful, something extremely convincing about their amour. Family members pass away, but their love does not perish.
Ennu ninte moideen torrentz2 movie#
Ennu Ninte Moideen is a biographical movie seeking solace in creative liberty, and this is exactly why it helps us to believe, helps us to sit through this slow, deliberate meditation (reminiscent of writing a long missive), helps us to discover light in this supposed (peaceful) madness… madness! Is it not so? After all, it is quixotic to assume that two real humans refused to part with their feelings for each other and continued to love each other in the face of religious, familial, and societal oppression. The futility of forbidden love is washed away by the pleasant realisation of the immortality of this emotion. In times when the sanctity of love is being questioned using bigoted religious tenets (#LoveJihadIsFiction), Ennu Ninte Moideen is a timeless movie that helps us believe, especially when we are given a million reasons not to. A pure, unblemished emotion, born out of the union of two benevolent souls rather than two fervent, restless hearts.
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We believe, because this is the love we all need, and that we think we deserve. It makes us shed bittersweet tears during the climax, and yet we believe. Sir, your film is a celebration of every classic romance we have ever come across. The film makes us root for an inseparable couple, makes us pray for a propitious conclusion to their endearing love story. It is beautiful, it is ideal it helps us escape the quotidian issues of breakups, divorces and toxic relationships, and makes us believe in a theory we have been conditioned to ever since we were children: that someone, somewhere, is our soulmate (the rest of this theory is a clever ellipsis, craftily avoiding the greater details that one should be concerned about on hearing this feel-good conjecture). It is a fairytale, precisely because it is cruel. Yes, Ennu Ninte Moideen is truly a fairytale, just like the stories of Romeo and Juliet, Layla and Majnun, Heer and Ranjha.
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And there are letters – several of them: mute witnesses to the poems of love feverishly written from the ink-stained tips of pens held gently in the hands of star-crossed lovers experiencing the thrill of mutual passion. And yet, you captured the very essence of 1960s Kozhikode, transporting us, the viewers, into an enchanted fairyland of sorts, where the tiny, tightly-packed cinema halls use film reels to spin tales that satiate the imaginations of the bright-eyed viewers where the non-judgmental boatman ferries various locals across the river, irrespective of their caste, colour, or religious beliefs where the daydreaming youths are adorable as they enact the perfect relationship in their heads, and the charmed, strong-willed women reward them with coy smiles for their affection.