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. 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.

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