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Ayutha Ezhuthu By A.R.Rahman

Topic started by dinesh (@ 210.186.42.195) on Thu Nov 20 23:13:59 EST 2003.
All times in EST +10:30 for IST.

6 Songs : Mind Blowing!!
Source :HinduTimes

http://www.hindustantimes.com/news/181_465617,00110003.htm

Simply mind-blowing

November 20

Ajay Devgan and Vivek Oberoi can’t stop raving about the songs of Mani Ratnam’s Yuva. “A.R. Rahman and Mani Sir and dynamite together,” says Vivek on the sets of Indra Kumar and Ashok Thakeria’s Masti, and adds, “The six songs Rahman has recorded for the film are mind-blowing.”

Ajay Devgan, his co-star in Yuva and Masti, uses the same words to describe them. Incidentally, when the film was launched earlier this year, Mani Ratnam had decided not to have a single song in it.

Vivek also feels that Abhishek Bachchan’s is the best role and best performance in the film. “That guy’s career will take off in a big way after Yuva,” predicts Vivek.

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Responses:

• Old responses
  
• From: dinesh (@ 207.43.195.202) on: Thu Jun 10 13:02:27 EDT 2004
  
  e-mail me if you believe it is not me..
  
  
• From: dinesh (@ 207.43.195.202) on: Thu Jun 10 13:06:56 EDT 2004
  
  just because i am so disturbed .I don't have any other work other than hanging out in newtfmpage..sometimes I post I am for ARR sometimes I use differnt ID to blast him..then I told myself i am going to bring real dinesh out and I did..
  
  
• From: din (@ 210.186.42.124) on: Thu Jun 10 13:07:49 EDT 2004
  
  Aaytha Yezhuthu
  
  
  Though the film looks like it has been ‘inspired’ from the Spanish film ‘Amores Perros’, which was nominated for the Oscars, it ahs been toned down well for the Tamil audience.
  
  
  
  The director introduces three characters in a busy road intersection in the very beginning of the film. Surya is traveling on a bike. Madhavan is following him. Siddharth asks for a life from Surya to chase his girlfriend who is in an auto. Madhavan shoots Surya and escapes. Siddharth gets him admitted to a hospital. That is when the histories of these three characters are explained.
  
  
  
  Mani has beautifully shown three very different roles in the film. Madhavan is a greedy and selfish rogue for hire. Surya is a student leader who fights for justice. Siddharth is a simple young man who wants to enjoy life.
  
  
  
  Surya has proved that he indeed is becoming the man that he is destined to be, as predicted by cinesouth a few days ago (17-04-04). He convincingly portrays the volcano that he is as a young man who enters politics. His love for Isha Deol is very unusual. Isha looks like a doll. She doesn’t have too much of scope to act but when she got the chance, she has proved that she is Dharmendra-Hema Malini’s daughter.
  
  
  
  Madhavan is an ideal match for Surya in film as well as in performance. He plays a very different role- on one moment he pampers Meera Jasmine and on the next moment he physically abuses her. He tries to kill the man who tried to kill his elder brother. Fine, but why does he kill the friend who tells him to reform his life? Meera Jasmine as the wife who puts up with Madhavan’s violence is very real. You still find such women in the slums of the city. It is enjoyable to watch them make up after all those fights in front of everybody, but sometimes it feels as if they are overdoing it.
  
  
  
  Siddharth believes that life is for living and so he doesn’t strain himself too much for anything. Trisha does her role well as his girlfriend. You feel uneasy to see Trisha, who is engaged to be married to someone else, be so close with him. Thankfully, she rejects him and comes back to Siddharth.
  
  
  
  Bharatiraaja is the villain-politician. You don’t have to teach him how to act!
  
  
  
  Ravi K Chandran’s cinematography, Sabu Cyril’s art direction and Vikram Dharma’s stunt sequences are amazing. VAiramuthu-AR REhman’s ‘Yaakai thiri’ and ‘Sandai kozhi’ are superb!
  
  
  
  The director has made one mistake- had he completed the flashbacks of the three characters before the first half, it would have been good. There would have been some curiosity about the film. Since it takes such a long time to complete the flashback, it looks as if he had rushed the film’s climax. It gives a sense of incompleteness to the film.
  
  
  
  Still, Manirathnam is Manirathnam.
  
  
  Wow...
  Surya, Madhavan, Meera Jasmine, Bharathi raja
  
  Buss...
  
  ---
  
  
  
  
• From: din (@ 207.43.195.202) on: Thu Jun 10 13:13:02 EDT 2004
  
  Yuva` disappoints big time!
  
  Movie
  Yuva
  Director
  Mani Ratnam
  Music
  A R Rahman
  Cast
  Abhishek, Ajay, Vivek, Rani, Kareena, Esha
  
  Post Your Review
  By Taran Adarsh
  
  Mani Ratnam. The name itself is enough to generate tremendous curiosity and excitement for a film. So, as the lights go off in a cinema hall and the titles roll, you expect nothing short of a masterpiece from a master film-maker.
  
  Unfortunately, YUVA is high on hype, but low on substance. Or, let's just say, naam bade aur darshan chhote.
  
  Coming from the maker of classics like NAYAKAN, ROJA and BOMBAY, his latest offering is a complete letdown. It simply fails to connect with the viewer!
  
  YUVA tells the story of three youngsters -- Michael [Ajay Devgan], Arjun [Vivek Oberoi] and Lallan [Abhishek Bachchan].
  
  Michael is a student-politician, who dreams of cleansing the corrupt political system some day. Arjun is a student as well, who nurses a desire of settling down in the U.S. Lallan is a ruffian, who works for another hooligan [Sonu Sood], who in turn is a henchman of the corrupt politician [Om Puri].
  
  The three youngsters, completely unaware of each other's existence, cross path one day. And suddenly life undergoes a change...
  
  Loosely based on Alejandro Gonzalez Inarritu's Oscar-nominated Spanish film AMORES PERROS, YUVA is divided into three chapters. But, sadly, none of the chapters make an impact!
  
  Mani Ratnam is an accomplished storyteller, but he seems to have got confused this time around. He has opted for a theme which not many would take a fancy to -- politics -- since the issue has been beaten to death by several makers in the past.
  
  Nonetheless, rehashing a story is pardonable, since every maker has his way of interpreting a tale. But what makes matters worse is that Mani's storytelling lacks the hammer-strong impact that this genre demands.
  
  In fact, the stamp of a genius is sorely missing in the film, even though the film does boast of some fine performances. But can the best of performances camouflage the harm inflicted by a weak screenplay? Never!
  
  The film has loop*holes aplenty. To start with, the film has been treated in an episodic fashion; the first 30-35 minutes focus on Abhishek and Rani's story. Then Ajay and Esha's track takes over, followed by Vivek and Kareena's portions.
  
  The film moves at such a lethargic and leisurely pace that you start getting restless even before the first segment [Abhishek-Rani] wraps up.
  
  Another drawback is that barring Abhishek and Rani's track, which at least has some interesting moments, the other two stories are dull and drab. And the latter reels, when the dirty political games are unveiled, the film falls into an altogether new low.
  
  Even the finale leaves the viewer with the feeling of complete discontent and disapproval. There should've been a proper culmination to Abhishek's character. Similarly, Ajay and Vivek winning the elections don't make you jump with joy either.
  
  Director Mani Ratnam fails completely in keeping the viewer's interest alive. The film banks too heavily on the student politics, which may not find flavour with a majority of the audience. Such topics hardly interest the viewers of today, also because the viewer tilts more towards escapist cinema. Not only is Mani's choice of the subject debatable, even his treatment is not as expected.
  
  Frankly, Mani is letdown by the script of the film. The film tries to strike a balance between realism and make-believe, but falls flat from tip to toe. Neither does the student politics appeal, nor does the saccharine-sweet romance between Vivek and Kareena make your heart beat faster. In fact, the romantic track of Vivek and Kareena is devoid of any excitement whatsoever.
  
  A.R. Rahman's music is a mixed bag. While 'Ae Khuda' and 'Fanaa' are hummable [both are well shot], the remaining tracks are just about okay. Cinematography [Ravi Chandran] is first-rate. The stunts are fantastic, especially the climax fight on a busy road.
  
  YUVA clearly belongs to Abhishek Bachchan, who delivers his best performance so far. Playing a crude, lower middle class ruffian is no child's play, but Abhishek has handled it with amazing confidence. This performance surely merits an award!
  
  Vivek Oberoi may have looked uncomfortable in his last few films, but he is back in his element this time. He comes up with a natural performance. Ajay Devgan doesn't come across as strongly as the other two actors. He's just about okay.
  
  Amongst the leading ladies, it is Rani who is the best of the lot. The role demanded an actress of substance and Rani more than lives up to the expectations. Kareena is highly competent, despite a half-baked character. Also, she looks gorgeous throughout, despite minimal make up. Esha Deol justifies her part, but her role doesn't demand histrionics either.
  
  Om Puri enacts the corrupt politician part with conviction. Sonu Sood is okay. Anant Nag is fair. Saurabh Shukla and Vijay Raaz are adequate.
  
  On the whole, YUVA disappoints big time. At the box-office, the film will neither appeal to connoisseurs of meaningful cinema, nor strike a chord with the hardcore masses. Its business may be better at multiplexes, thanks to the hype surrounding the film, but its fall is inevitable.
  
  Rating:- *.
  
  Courtesy: Indiafm
  
  
  
• From: din (@ 207.43.195.202) on: Thu Jun 10 13:15:50 EDT 2004
  
  Aayitha Ezhuthu
  
  Three men with varied backgrounds, aspirations and attitudes. Inba, the hired assassin, Michael, his intended victim, and Sidharth, the innocent by-stander caught in the cross-fire between the two. A horrific shoot-out at the beginning of the film results in their lives going in total disarray, changing their destinies.
  
  So what’s new about the script, characters and narration? As far as the three male protagonists go, we’ve seen them all in many earlier films. The heroic-rowdy who’s the hired henchman of the local politician; the fiery student leader who’s the bete noire of the same politician; and the youth-in-love, in a dilemma to go abroad or stay back for his love. The episodes hold nothing new for the viewer.
  
  And if one looks for a different narrative style, well, it’s not a unique one either. No doubt the three episodes are inter-linked, rather neatly. But the multiple-narrative and cuts-to-the-past for each protagonist is a style which seems to be quite popular these days. We’ve seen it in ‘Virumandi’, and Nagesh Kukkunoor’s ‘Theen Deewarein’, among other films. All again off-shoots of the Kurasowa-Rashomon multiple-narrative style.
  
  Again, as it happened in the director’s earlier films like ‘Bombay’, where he deals with serious issues, the clarity and a definite stand is missing here too. For example, the student-politics and the cleansing up of the system is dealt with rather naively, the scenes predictable and clichéd, leaving many questions unanswered.
  
  Seems like it’s only Mani Ratam who can get Madhavan to give a decent performance (‘Run’ was an exception). As Inba, the actor has got his body language and looks right. Surya, as Michael, is a clear winner with his steely eyes and cool, confident demeanour. His meaningful smiles when Selvanayagam taunts him is worth mentioning.
  
  Poor ‘Boys’ Sidharth is yet again short-changed here!
  
  Wonder what made Mani Ratnam select Bharatiraja for the role of the unscrupulous politician Selvanayagam. A total miscast, he stands out like a sore thumb.
  
  With the male protagonists taking over the story, the women do not seem to matter much here. Trisha looks like she’s come straight out of bed, dull eyes, unkempt look. Meera Jasmine, the one with the mercurial expressions, looks a bit naïve about camera angles while Esha is disappointing in her Tamil debut, with zilch screen presence.
  
  Strangely, the women all seem to behave, talk and modulate the way we’ve seen the heroines do in the director’s earlier films!
  
  The lengthy climax scene on the bridge is well-shot. Ravi K. Chandran’s camera catches effectively stunt choreographer Vikram Dharma’s splendidly choreographed chase scene, with Sreekar Prasad’s fast cutting adding to the impact. But disappointing is A R Rehman’s music and missing is the director’s stylized picturisation.
  
  The film ends on an abrupt note, one not sure whether to get up and leave or not, in case something more turns up on the screen!
  
  One wouldn’t mind such a film from any other director. But from Mani Ratnam, one surely expects much more than this. Something definitely more distinct and original by way of scripting and narrative style. And not a film with its already-seen feel!
  
  
  
• From: dinesh (@ 207.43.195.202) on: Thu Jun 10 13:19:57 EDT 2004
  
  just because i am so disturbed .I don't have any other work other than hanging out in newtfmpage..sometimes I post I am for ARR sometimes I use differnt ID to blast him..then I told myself i am going to bring real dinesh out and I did..
  
  

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