Rhythmically ritzy. Review on Yuvvraaj

SUBHASH GHAI is known for his opulent cinema based on strong script.  In YUVVRAAJ, in the former department, Ghai doesn’t let his audience down; as far as the script goes, the narration goes haywire and the story drags and drags forever.  In this fast paced age, even cinema has taken on the fast tone and most of the movies tend to end within two hours.  But Ghai takes his own time building up the three hour story, with the first half devoted to the romance and its ups and down in the lives of Katrina Kaif and Salman Khan, musicians in the Austrian orchestra.

Katrina, heiress to billions, loves this arrogant, nincompoop brat.  And because of Salman’s poverty (never mind he wears designer clothes, stays in six star hotels and zooms across countinents), Katrina’s father Boman Irani is against this relationship.  But Salman is not poor by birth.  His rich father has thrown him out of the house because of his bad behaviour with his elder stepbrother who is autistic.  Father dies. And its time for the riches to be divided.  Salman hopes that he will receive a fair chunk and then he will wed his sweetheart.  Unfortunately, that doesn’t happen.  The elder autistic brother Anil Kapoor is the sole beneficiary.

In the second half, the plot revolves around how the two real brothers (Salman and Zayed) conspire to get the riches from their elder stepbrother, even as he now steps out of the house and blossoms on his own, becoming a part of their orchestra.  You see this austistic ‘child’ is a musical genius.

Ghai has written, edited and directed YUVVRAAJ.  While his directions in top notch, the same cannot be said of the story that translates into a run-of-the-mill drab script.  And Ghai should have used his editor’s scissors liberally and chopped off portions for a slicker product.

In terms of visual appeal, the movie gets a ten on ten.  For long after you come of the theatre, what stays with you is Kabir Lal’s amazing cinematography and Katrina Kaif’s exquisite porcelain beauty.  Kabir’s camera captures Austria in all its dazzling iridescent beauty and showcases this country like never before.  (Wish it were a travelogue! Would have been more detailed then!)

As the background of the script is orchestra, music had to play a significant part.  Ghai is also known for giving great music in his films, music that is evergreen.  A R Rehman doesn’t disappoint for just as the canvas is huge, the music is stupendous.  Melody to ears was when strains of Beethoven’s seventh symphony wafted across and build up in a crescendo to culminate in a stunning finale.  The same tone is maintained in the entire movie.

Lyrics penned by Gulzar, especially of the songs TU MUSKURA & ZINDAGI ZINDAGI KYA KAMI REH GAYEE are soul stirring.  Sample this, AISA HOTA HAI KHAYALON MEIN AKSAR TUJH KO SOCHOON TOH MAHAK JATI HOON, MERI ROOH MEIN BASI HAI TERI KHUSHBOO, TUJHKO CHOO LOON TO BEHEK JAATI HOON.

Coming to the performances, Anil Kapoor takes his ISHWAR act further.  A seasoned actor, and a Ghai favourite, he gets into his character effortlessly.  Salman Khan cannot put the passion into his romantic act and comes across as a buffoon even when he is trying to woo his beautiful girl.  In his own workds, “My romance is not passionate – its more fun, ” but for diehart romantics, what is romance without passion?

The other khan, Zayed looks good, and goes over the top with his acting.  He is too loud.  And Katrina, even though her acting is relegated to delicately raising her eyebrows, is the pick of the lot, just for her grace and elegance that she lends to the screen.

The smatterings of hangers on in the family – the MAMA and his family, merge in the background and these roles any one could have played.  Boman irani disappoints because the story lends a comical touch to a character that should have been solemn and staid.  Mithun in a small role is suave.

So, I will appreciate the film for the cinematography, Katrina’s beauty, and for Rehman, the music maestro from whose baton flows music that you want to simply revel in.