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Ee.Ma.Yau

The story of ‘’Ee Ma Yau’’, aka ‘’R.I.P’’, begins in a coastal area of Kochi, where we meet Vavachan Mesthiri. He narrates the story of his father’s funeral. From here onwards, Poovankery Francis Mathew, the film’s screenwriter, spoon-feeds us the whole story from the weltanschauung of each character involving in the film. The journey is no less than a ride of dark humour, love, greed, ego, love, lust and pride.

The recently deceased Vavachan Mesthiri is a septuagenarian, who clocks one of his neighbours, much younger than him, in a fistfight over a minor disagreement. After the brawl, he heads straight to his house, with a duck sitting inside his carry bag, which he holds close to his chest. Next to it, there’s a bottle of liquor and a bundle of proscribed legal tender.

His pensive silence is broken when his son Eeshi tries to converse with him, whilst holding a glass of brandy. There, Vavachan reminisces about the grandiose funeral of his own father, the greatest his village had ever seen. Overcome with emotion, Eeshi can’t resist but make a promise to Vavachan that his own funeral will be as memorable as his grandfather’s had been. Fortuitously, Eeshi has no idea that he will have to turn his words into reality way sooner than he thought.

An intoxicated Vavachan, having quite a moment, suddenly falls down and seriously injures himself. Soon, he is reunited with his father for good.

Now, the film is all about fulfilling the promise but not only from the perspective of Eeshi, but also from that of the members of his close-knit community. The narration also acts as another character in helping us in widening the scope of the story and maintaining its flow.

The story has been well maintained by the thespians but from the overall scenario the script is rather weak. The chaos is rather a lot which seems too much in the film. The director definitely did okayish job because whilst he tries to portrays the intensity of the story, he fails to achieve the purpose at the same time. The plethora of characters in the story are impressive but also, somewhat lacking since we can’t pragmatically empathise with the emotional state of each and every character. The capacity of the viewer to understand and relate with every perspective is stretched thin, making the focus more on absorbing the excess of information rather than experiencing the collective chaos of the funeral.

But at the same time, we can’t forget the mesmerising cinematography of the film and the theme used in the film, Death, which has presented in a different form than that we have witnessed in other films. Through the symbolic representation used via irony and dark humour filled to the brim in this movie, we can easily come to conclusion that Ea. Ma. Yau. shouldn’t be missed.

  • Gaurab

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