As I settled into my seat, I noticed that the cinema hall was absolutely packed - the first time since Ishq Vishk and Bhoot that I had to buy tickets in black for a non-SRK flick. I hope that my friends, MSians and countrymen will refrain from informing the cops that I encouraged black-marketing by buying the tickets, though I have a sneaking suspicion that in order to save themselves from any further reviews of the Nikamma, MSians may go against my wishes.
Contrary to my earlier perception, I soon realised that Yuva was not a biography of Yuvraj Singh. It describes how the paths of three contrasting individuals meet. Along the way, director Mani Ratnam attempts to give a picture of the current political scenario. A potential delectable fare turns tasteless. Engaging moments, but a non-engaging film, Yuva, as a film, becomes fanaa (destroyed). Why, did you ask? Z. Er, I mean, read on ...
Ask any fellow why he was awaiting this film's release and you would receive only one answer - the Abba number 'Money money money' ; in other words, director Mani Ratnam who is one of the few directors who can boast of a larger fan following than most actors and actresses. However, if Neena Gupta turns up her nose and squeals in her high-pitched tone ''Kamzor Kadii Kaun?'', the answer would be ''Mani Ratnam, instead of 'Money money money', you became 'Money for nothing', aap hai is round ki sabse kamzor kadi, aap ja sakte hain.''
Hey! Not you! Don't go as yet, learn the act of tolerance, just a little more ranting to go. As I said, surprisingly, it is director Mani Ratnam who turns out to be the weak link of 'Yuva'. Although the concept is apt going by the recent elections and the story is well-written, I believe Mani tried to be too innovative. In all his previous films I have seen - Roja and Bombay, in particular, Ratnam's forte has been the simplicity with which he has narrated his story. In this flick, Ratnam uses one particular sequence as the pivot around which 80% of the flick revolves. In a unique concept, the scene in question repeats thrice and one by one, it goes into the flashback of the three male protagonists.
So far so good, if you did not venture out for a leak break or blink your eyes a tad too much, you will get a hang of what's happening in the middle - the concept of the totally different sequences connecting. However, the major problem lies that the flashbacks which follow the pivotal scene are too long. The man at the editing table was probably watching Kyunki Saas Bhi Kabhi Bahu Thi and dozed off in the process. Inconsequential scenes hound the flashbacks, along with a few good scenes.
Moreover, in a film which concentrates so much on its three main protagonists, the characterizations is of prime importance. Ajay Devgan played Micheal, a student prodigy who gives up a chance to study further in the States because he dreams of cleaning the political system and inspiring other youth to join him in the service of the notion. His character is fantastically developed, as his psyche is shown to be radical, yet rational and in his heart is an urge to stand for the truth, come what may.
Vivek Oberoi, who plays Arjun, represents the majority of the contemporary urban youth - somebody who lives life each day as it comes, somebody who is confused as to what he wants to do in life - a la Aamir Khan in Dil Chahta Hai and Hrithik Roshan in the forthcoming Lakshya. Again, Ratnam develops Oberoi's character to perfection, a touchingly believable character.
Abhishek Bachchan is Lallan Singh, a product of the Kolkata streets. A wife abuser, Lallan is like a spoilt child, who can move on the wrong path and at the same time, ooze with rustic charm. Prior to the film's release, the buzz was that Ratnam has ignored the other actors and focussed only on Bachchan. While that is true if screen time is considered, I believe that Lallan Singh's character was the most badly written. Here was a character who could have carried off the film on his own shoulders, and Ratnam messed it all up in the end.
All along, the viewer looks upon Lallan Singh as a misled youth, somebody who is stubborn, obstinate, greedy, yet deep down, has a heart. Although he physically abuses his wife, some of his more amicable interactions with her touch your soul. At a crucial point where he almost breaks down after a personal loss, you believe that the scene would be the turning point of his character. But, Ratnam ends up confusing the viewer as Lallan is almost shown to be heartless. Without playing spoiler, I can say that the character was fantastic until Bachchan goes to Om Puri in the final stages. That scene spoilt it all and in the process, diluted the entire characterization which had been set up until then.
Save the glitch in Singh's characterization and the almost unexisting editing, Yuva is a decent watch, interesting in parts, especially the way the pivotal scene is used. The digs at the current political system are effectively made and the student politics aspect is brilliantly handled.
The music is inconsistent. Dhakka Laga Bukka was a song I hadn't liked, but on screen, it does add an impact. Fanaa and Ae Khuda Haafiz are the best numbers, both musically and considering the picturization too. Kabhi Neem Neem is a pleasant hear, too.
The only song which wasn't required was Dol Dol, which not only threatens to smash your ear drums, but also jarrs the proceedings.
The major saving grace of the movie would be the individual performances.
Abhishek Bachchan plays to the gallery to perfection, he has the most screen time, and he makes ample use of it. Save for the confusing characterization towards the end, he plays his part with gusto.
Rani Mukerji plays her role to perfection - the time when she cries when she and Lallan Singh suffer the personal loss and her outburst in the train are top notch.
I had earlier thought that Ajay Devgan would be a miscast as a collegian, but not only did he look convincingly young, but also act amazingly. The passion with which he sets out to change the political system shines through and Devgan moves from strength to strength after yet another stellar performance.
But, Devgan's love interest Esha Deol is reduced to carrying her luggage from one house to another. Now, aren't donkeys supposed to carry luggage? (Alright, I can see plenty of snide comments coming here!) Barely any dialogues, all she does is giggle, giggle, and you said it, giggle. I know that she shares her birthday with Shah Rukh Khan, but pray, does she have to shake so much all the time?
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