Ee.Ma.Yau is set in the seaside town of Chellanam in Kochi, the film unfurls through the happenings between two nighttimes. The plot spins around the demise of Vavachan Mesthiri (Kainakary Thankaraj) and the endeavors of his son Eeshi (Chemban Vinod) to orchestrate a “fabulous burial service” for his dad. Eeshi is a disappointment at managing and drawing reasonable answers for his issues. It is his companion and ward member, Ayyappan (Vinayakan), who arranges everything for him. The movie manages the fallout of a demise: how it influences distinctive individuals associated either straightforwardly or by implication to the perished soul, and how to facilitate procedures are completed.
Lijo Pellissery hits the nail on the head from the earliest starting point, from the marvelous opening title that enters and leaves the screen like a dreamlike metaphor. The excellent shot of a congregation band walking along the beachside under the euphoric morning sun, acclimate the gathering of people with the man who will soon stop to exist. In an initial couple of minutes of the film, you see Vavachan Mesthiri (Kainakari Thankaraj) agonizing, drinking, moving and having his last throw with life. He discusses the amazing burial service he has masterminded his dad, pressing out a guarantee for the same from his son Eeshi (Chemban Vinod Jose). Ee.Ma.Yau, an acronym for ‘Eeso Mariyam Ouseppe’, is about how the child battles to keep his pledge. The narrative of the film can be written in just two or three papers yet the nitty gritty screenplay by PF Mathews is the centre of the film.
We as a whole know what Lijo is able to do? He is considered as an Anurag Kashyap or Hansal Mehta regarding filmmaking. I will dependably call him as a Tarantino of our film world. His method for narrating resembles putting a camera in everybody’s life. In this film additionally, he didn’t come up short anytime. The vast majority of the scenes are shown in a solitary convenient shot. Shyju Khalid’s camera resembles the principle on-screen character in the film, particularly in the last successions. In the event that I didn’t say the name of Ranganath Ravee I won’t be a genuine film lover, once in a while, I even suspected that I was in a beachfront region of Kochi. I would state that Ee. Mama. Yau is an ideal mix of specialized technicians and performing artists.
The actor who exceeds expectations the most here is Chemban Vinod Jose as the son making a decent attempt to satisfy the guarantee he made to his dad, and in the meantime not yield to the unanticipated weights he is subjected to priest’s actions. Vinayakan plays Ayyappan, Eeshi’s commendably steadfast companion attempting to enable him to out of tight spots, regardless of whether it implies begging before someone. Dileesh Pothan’s Vikariyachan felt like a satire, however, left unexplored by the writer. Vinayakan’s abilities should’ve been found quite a while prior. Pauly Valsan is extremely compelling as the dowager who has the capacity to convincingly begin and quit crying without a moment’s notice and stays interesting at the same time. In the wake of watching the film, one inquiry was there in my brain, why Chemban Vinod didn’t get any acclamation for the film.
Ee Ma Yau’ asks more than it answers, and it indicates more than it tells. It’s a wonderfully created gem that offers little conclusion, however, it conveys the desired information with nuance and persistence, two parts of the true to life dialect that is frequently overlooked in Indian film, however they work wonders in character studies and temperament pieces, for example, this. For that, and for telling a perfectly woven story with certainty and responsibility, I salute this fine bit of filmmaking that truly got to me; an advanced exemplary, and the best Malayalam film of the year up until now.
My Rating 4/5