BROS AND CONS
Estranged siblings negotiate the ups and downs of blood ties in a ridiculously plotted drama.
NOV 23, 2008 – LEST WE FORGET THAT SUBHASH GHAI IS NO LONGER the gleefully demented showman he once was, and that he’s now less interested in crafting gargantuan entertainment than creating great art, the screen fades to black for an instant during the opening credits of Yuvvraaj – just before the legend, “written, produced and directed by Subhash Ghai.” It’s a solemnly pompous moment that practically prompts you to genuflect, at least to the extent possible amidst multiplex seating, and acknowledge the momentousness of the revelation, that this is indeed the filmmaker behind the film. Even AR Rahman’s score, hitherto spilling forth from speakers in all directions, fades away respectfully into silence – a far cry from the days this director would announce himself over the brassy crescendo of Laxmikant-Pyarelal’s orchestra.
And fittingly, it’s a different kind of orchestra being employed here, a different kind of sound – not the vibrantly emotional spectrum dispersed by the dholak and the sitar, but a more restrained palette, painted predominantly by a mournful cello. Class, it would appear, is the key to Ghai’s work now. The emotions he toys with are still pitched at decibel levels audible throughout the solar system (and his supporting characters are at least as loud), but where he once spread out colourful blankets on a dusty floor so we could hunker down for a nautanki, he now hands us lorgnettes for the opera.
This misguided notion of class is pursued with dogged devotion through the punishing length of Yuvvraaj. (This is one of those sloppily structured films with so much dead air in its frames that, no matter how long, it manages to appear a lot longer.) Ghai tells the story of three estranged, warring brothers – Gyanesh (Anil Kapoor), Deven (Salman Khan) and Danny (Zayed Khan) – but he doesn’t bother to root their conflict in convincing terms. (I’m guessing a sentimental flashback or two about the boys they were before they grew into the men they are would have been recklessly unrestrained. Instead, Ghai goes for class with a dry, distant voiceover.)
Deven loves Anushka (Katrina Kaif), and he enters into a contract with her disapproving father (poor Boman Irani, made to look like the love child of Groucho Marx and Albert Einstein) that if he doesn’t become a billionaire by a specified date, he’ll let go of his love. How does Anushka feel about being treated like chattel? For that matter, what does Deven go through when the date nears and he’s no closer to achieving his goal? Thanks to all the emotional restraint, we never find out. Somewhere in between, Gyanesh falls for Anushka, until informed by Deven that she’s off limits. Gyanesh’s crushing disappointment, needless to say, is callously swept aside, as if classily restrained films such as this shouldn’t bother with anything so vulgar as helping an audience empathise with the plight of a character up on screen.
Like the short-lived device of a narrator who’s apparently giving us a first-person account of the story of Deven and Anushka (she jots down points in a journal, then she transforms into a generic looker-on as the story shifts abruptly to third person), interesting developments crop up in Yuvvraaj, only to be sidelined with a horrifying lack of grace. I perked up at a scene that appeared to indicate that this was going to be some sort of twisted variation on King Lear, when the brothers gather for the reading of their father’s will and the lawyer asks them to demonstrate their love and respect for the departed soul. (Yeah, I know. Subhash Ghai and King Lear. What was I thinking?)
Instead, the film morphs into Rain Man, as the autistic Gyanesh inherits the bulk of the estate, and Deven – who needs to become a billionaire if he wants to marry Anushka – takes him on a trip in order to swindle him out of the fortune. Anil Kapoor, in these portions, is encouraged to mug so madly, it’s unclear if he thought his character was an idiot savant or merely an idiot. It doesn’t help that he has to play his biggest scene quivering between glowering portraits of Beethoven and Mozart, who, with their stillness and their silence, at least escape with their dignity intact.
For all the nods towards Western classical music, the events in Yuvvraaj could just as easily have transpired in a decrepit Mumbai suburb. Ghai sets his story in old-world music capitals like Prague and Austria, and he makes his hero a chorus singer and his heroine a cellist (when we first see her, she’s bowing her cello while bathed in soothing tones of amber, as if the cinematographer was eyeing her through a warm glass of scotch). Ghai leads us to believe that the music itself is going to be a character in his film, an elemental part of its weft and weave – but Deven and Anushka could have been circus clowns and the story wouldn’t have played out any differently.
Rahman perhaps cottoned on to this in his sittings with Ghai, for his generally underwhelming compositions (save for Tu muskura and Manmohini morey) are more free-style Bollywood than anything else, bravely cutting across influences and genres but rarely identifiable with any particular classical tradition. Listening to the audio, I was intrigued by the mini-track Main hoon Yuvvraaj, which integrates Salman Khan with the four-note fortissimo phrase that opens the Fifth of Beethoven, but watching the video left me no clearer about the necessity for union. Or did Ghai really think that, by invoking one of the most exquisitely dramatic pieces of music in the Western world, he’d impart a touch of class to a drama that otherwise has none?
Copyright ©2008 The New Sunday Express. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Gopi
November 22, 2008
Ah… how odd to see you posting a review at this time of the day…
And am dreading going to watch the movie tomorrow now. It’s my friend’s insistence that’s making me watch the movie.
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Gattu
November 22, 2008
Guruji,
I’d trade any of my useless limbs to get a line like this [i](poor Boman Irani, made to look like the love child of Groucho Marx and Albert Einstein)[\i] & my life for a review like this.
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Sujith
November 22, 2008
“interesting developments crop up in Yuvvraaj, only to be sidelined with a horrifying lack of grace” nail,head
That start with the chalk on board drawing got me intrigued , but all that ended when I saw the Salman intro with that Main Hoon Yuvraaj. Didnt find soundtrack underwhelming in anyway(except for the Main Hoon Yuvraaj, first few seconds thought this might be like the Fifth of Beethoven from Saturday Night Fever), really liked it, but this one is better off without the visuals (Sallu floating in the sky..ughh)
That end title sequence was a welcome relief to the movie.
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Nina
November 23, 2008
What a brilliant review!!!! It had me in stitches. I loved the Groucho Marx/Albert Einstein line too and “Anil Kapoor, in these portions, is encouraged to mug so madly, it’s unclear if he thought his character was an idiot savant or merely an idiot.” Thank you for the early Sunday morning laughs!
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Varun
November 24, 2008
brangan…I hope Ghai doesn’t give his famous special appearance in ur dreams tonight and shake his head like Boman Irani does in ‘mastam mastam’. Though I think u deserve to suffer…for even attempting to watch (forget analyzing) a Ghai film set in Prague!
And I hope, it also bursts the Katrina-Bubble for some of the ‘ow she’s so lucky’ brigade. (Though she is lucky in some ways…like for example, she is NOT Zayed Khan. That’s luck.)
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brangan
November 24, 2008
Sujith: Salman floating in the air is a literalisation of the line in the song — awaaz ka dariya hoon, etc. He’s, uh, floating on a river of sound, I presume 🙂
Varun: Isn’t Katrina quite the worst actress in a while? I mean, we’ve had a long tradition of non-performers, but Ms. Kaif seems to be something else. (Her delivery of the “hard-core anti-family man” is one for the ages.) I think it was only in Apne that I remember something of a performance…
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Anand
November 24, 2008
BR: Quite surprising – I thought she was a decent performer. Hven’t watched Yuvraaj, but I liked her in Namaste London. Have not seen her other films like Main Pyar Kyon Kiya, SIK, Welcome etc. May be I’m wring.
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Varun
November 24, 2008
@ brangan
‘Theory of relativity’ must have worked to her advantage in ‘Apne’. Just like time appears to be static if you move next to the speed of light – any ‘starlet’ will appear to be ‘performing’ if she moves next to the speed of Deols.
And I truly believe that 80’s have never left us…it’s just that we will realize some 20-years later how screwed up we were in the years when Singh Is King, Partner, Heyy Baby, and Veer Zaara were super-hits and shameless amounts of money was spent on tasteless whims like ‘Yuvvraaj’, ‘Heroes’, ‘Laag Chunri…’ and other Dhanoa-Sharma-Kanwar enterprises.
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Chaitanya
November 24, 2008
I love the music of Yuvvraaj, its detailing, heavy nature, and intricacies.
I don’t have neither a sound system nor a software that can do justice to that music, and for this reason alone, I am going to watch the movie in theater. 🙂
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brangan
November 24, 2008
Varun: LOL at Theory of relativity. But I hoope you’re not adding Abhay Deol to the mix. He’s the actor who picks the most consistently interesting projects today. I’m devastated at the timing of this festival that allows me to review Yuvvraaj but not Oye Lucky Lucky Oye. At least there’s Dev D to look forward too after that.
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Gopi
November 25, 2008
@Chaitanya,
Oh you will be in for a surprise… a bad one…
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Pradyumna M
November 25, 2008
I can’t believe the film industry thinks of Katrina as an actress.. No. 1 Actress in the industry?!? Hahaha!
Br:Will you be reviewing the music of Ghajini?
Btw,even sallu mocked Katrina’s anti family man dialogue in a recent interview 😀
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Anand
November 25, 2008
BR: OLLO has got some fantastic initial reviews. You are also going to miss Sorry Bhai, which looks promising. And Poo in Tamil. My goodness, what a weekend ahead!!
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brangan
November 26, 2008
Pradyumna M: Not liklely. I’m here for another week, and have my hands full with just watching films 🙂
Anand: Poo? This is that Srikanth film, right? Has this got a good buzz going? I mean, is the director an assistant of Bala or Ameer or something?
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raj
November 26, 2008
BR, whoever. Srikanth film. That condemns it for sure. I mean, how good can a Srikanth film be? 🙂
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kanika
November 26, 2008
Guys i had a real good time watching Yuvvraaj. Anil was superb as usual, Salman as usual lived up to the expectations, Katrina Kaif playing the cello looks awesome n not to forget the beautiful foreign locales and the grand sets
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Rohit
November 26, 2008
grt movie….must watch….superb chemistry between sal and kats…in all a grt entertainer…
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raj
November 27, 2008
br just discovered the director for Poo is Sasi – who would be the same guy who made Sollamale and Roja Koottam. There! And Srikanth. You know what to expect.
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Noopur
November 27, 2008
it’s a good film to watch, especially if you like musical films. anil and salman did really well in this film!
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masoomrooney
November 27, 2008
well mr rangan i wanted to ask whether u r going to do a review on GHAJINI music?
because i found it funky cool wud like to know ur thought like yuvraaj.
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brangan
November 28, 2008
masoomrooney: Nope. Haven’t heard the album yet. But the reports from those I know haven’t been very flattering.
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zazu
November 30, 2008
Lol – Lear and Ghai – but really – that wouldn’t have worked here because the father was dead – not sure if encountering the wrath of a father’s lawyer would have the same effect. But filial dynamics has always been a fount for insight into human nature so this was a real wasted opportunity to be sure.
Totally agree with your observation about any of the interesting aspects of the plot and characters not being explored to their logical potential, which left the movie and the actors kind of high and dry.
And Ghai’s much vaunted musical ability was lacking here as well – again totally agree about the appalling lack of “dementedness!” It seems like he was trying to be poetical – but it’s like Busby Berkeley trying to do an overblown Vincent Minnelli number. The tap shoes just don’t fit.
The theatre where I saw this movie was surprisingly well attended. People even applauded at the end –maybe because the move was finally over? I suspect they were applauding the sentiments expressed by the lawyer, about brothers coming together and wasn’t that wonderful for the dad – which made absolutely no sense in the context of the movie since it wasn’t like the father was that laudable a character to begin with having abandoned his younger sons and shunting the older son to the side.
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B.H.Harsh
December 7, 2008
@Rangan sir
The more I read your reviews, sir… The more I feel envious and awe-struck at the same time for How entertainingly can You give such wonderful insights into a film, without making it seem decisive or an objective truth.
Its so unfortunate that I woke up to your site and reviews only a few days ago…. But at the same time, I couldnt be more thankful to the one up there for finally bringing me here… 🙂
I’ve read all ur reviews… and i just feel like going back to them again & again…. And will surely do, to comment….. anticipating ur reply…. 🙂 (I cant believe I may just as well, by god’s grace, get a reply from THE BARADWAJ RANGAN himself… wow! :D)
Your ardent fan
Harsh
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