Some make issue-based films because they feel strongly about the particular subject, while some others do so just because it is a useful template that would help hide the mediocrity that pervades the film. Nadirshah’s Eesho belongs to the latter category. Child abuse, which was also the issue which he chose for his debut film, (the insufferable Amar Akbar Anthony) becomes the issue of choice in his fifth film too.
While in the former, the issue arrives as an afterthought — towards the fag end of a film filled with misogyny — in Eesho, it is presented quite early on, only to remain in the background for much of the rest of the runtime. In both films, the issue at hand becomes an excuse for heroic men to indulge in vigilantism.
The lack of conviction and the formulaic nature of the whole setup is evident from the first sequence in Eesho, which begins with a song in the voice of the child, who would soon become a victim. The song seems to have been included just because a similar song in the debut film turned out to be a huge hit. Always stick to the successful formula, as they say.
