A real picture of Kannur, a plausible love story; and the Romeo and Juliet are at the mercy of the viewer’s imagination when the film ends. The villain is, predictably, the bloody politics of Kannur.Assumably, the film began with an aerial shot of Kannur , a Hartal day. The theme was introduced. The hero and the heroine meet. We all know who the villain is when the red and saffron flags under their families believe in are shown.
Directed, written and edited by: B. Ajithkumar
Producer: Sharmila Rajaa
Cast: Shane Nigam, Nimisha Sajayan, Surabhi Lakshmi, Alencier, P Balachandran
Everything else in the story was a matter of waiting for two and half hours to happen. When we are about to think that Eeda is just like any other recent films which monotonously portray the ‘dull’ reality of life , the director takes Anand (Shane Nigam) and Aiswarya (Nmisha Sajayan) to Mysore, a city which doesn’t have the promiscuity of Bangalore at the same time offers a favourable weather for their love. There is the legendary balcony scene of Romeo. It was one of the sweetest ‘loves’ on screen Malayalam cinema ever played. And there is this divine kiss of the hero on the forehead of the heroine- a moment we all forget that we are in an almost empty theatre with a few middle aged viewers on the first show.
The heroine is bold, brilliant and ambitious. She initiates everything; the proposal, the register marriage and she seems sure of their future. And when everything was so beautiful to believe there is another political murder in Kannur. What dramatically changes in Aiswarya aka Ammu is that while she played a major role in deciding her life in the first part of the film, she becomes a damsel in distress in the second part. She doesn’t even know how to get out of her house. “Party decides everything”, she is told. Betrayed and taken for granted as the wives of Kannur martyrs she aimlessly runs away in her wedding night, only to meet Anand. But it was too late. Although the director chooses not to make his debut film a heartless Shakespearean tragedy by killing his hero and heroine, the film ends as Anand and Aiswarya stagger out in the open, expecting the hunt; a song plays in the background “Pilarillalllo pranayam vaalaal” (Love cannot be broken by sword). But their future is catastrophic; their love is doomed.
While the film was prudent about its microscopic factuality in many scenes there was a lack of memorable songs. The Mysore part was the life of the film. Still the director, instead of using it for cramming in some humour, kept it only for love. The rest of the film was shadowed by the killing, the revenge and the avenging of the dead. Anand is a passive hero until the last ten minutes of the film and Aiswarya becomes the clichéd tragic heroine at the end. Nevertheless the film was a reminder of the people stuck in the intricacies of political hunt games.