Would it make any difference? whether JANASHEEN is FLOP or DISASTER..it was TERRIBLE imho, despite all SKIN!

Yes, Pasand apni apni, khayal apna apna!!
Good sound does make difference, I enjoyed MHn second time more, as sound was better in THX cinema, whether it was DTS, I dont know!

http://ww1.mid-day.com/news/city/2004/may/83874.htm

Mani Ratnam’s big-budget (made at an approximate cost of Rs 25 crore), big-star cast (Ajay Devgan, Abhishek Bachchan, Vivek Oberoi, Kareena Kapoor, Rani Mukherjee and Eshaa Deol) after six years seems to have turned a turkey at the turnstiles.

It opened at Mumbai at a disappointing 85 per cent while in the rest of India it varied between 60-70 per cent.

Trade analyst Amod Mehra says, “The film will do well at the multiplexes. In the long run I don’t expect the film to run well in the B and C or mass centers or single theatre units.

"It’s quite shocking that such a big film with a great star cast could not even take a cent per cent opening which even a Main Hoon Na managed to do. It should have done better than Main Hoon Na.

"In multiplexes it has taken a very good opening but in Punjab, UP and the smaller centers it has not opened well. The reasons why Yuva hasn’t opened well are because the film wasn’t publicized well, the promos did not give a feel of the film and the three tracks are shown simultaneously giving rise to confusion.

"None of the characters have been defined properly. The songs have no lyrics. People, including the youth or yuva, are wondering what the film is all about.”

Vikas Mohan, editor of Complete Cinema, says, “Yuva is a disaster! It is a good body without any soul. It is very poor content-wise.

"The whole plot is confused and barring Abhishek Bachchan and Ajay Devgan the rest of the cast is okay. A personality like Mani Ratnam whom people expected a lot from has put forward such a disappointing film.

"He has put in elections in Yuva whereas people have just seen the reality of the elections right now. He has failed to interlink the characters, the plot is confused, the music is not properly picturised and he has wasted so many stars.

"I have my doubts that the film will pick up later. The film is worse than Dil Se!”

YUVA (2004)

Director: Mani Ratnam
Music: A.R Rahman
Lyrics: Mehboob
Producer: Madras Talkies
Starring: Ajay Devgan, Abhishek, Vivek Oberoi, Rani, Kareena

RS RATING: 6/10

Mani Ratnam is no ordinary film maker. He is credited with some of the most revolutionary films of our times. Roja, Bombay... Both were masterpieces coming from the man who is somewhat of a legend down south. And he is back! And considering the hype around the movie and its awesome music, I was pretty sure that it won't be a disappointment.

This time he brings to us another movie that is very different from the usual movies Bollywood churn out. The movie Yuva is reportedly inspired by a real life incident that happened in the Osmania University. It is about three couples and their life which gets changed one fateful day. Mani chooses his actors well (not characters in this particular film as we later discuss). Ajay Devgan plays the role of Michael Mukherjee, a child prodigy who decides to live the alternate path in life by passing up a chance to go study in the USA under the guidance of a Noble Laureate and instead end up following in the foot steps of his revolutionary father. He prefers to stay back in Kolkata to fight the system, the injustice and corruption that roils his land. So, he plays the role of a PhD student who decides to enter the rings of the active society and politics instead of blaming the system for the degeneration of the socio politic fabric. Something that we do need in today's youth, hence the name Yuva! Esha Deol plays the love interest of Ajay Devgan. She is a French language teacher by profession and like a typical Indian woman, wants to settle down getting married. Unfortunately, Michael does not believe in marriages...

Vivek Oberoi as Arjun Balakrishnan is the male lead of the second couple in the movie. He plays the role of the typical youth of today. He is an engineer and wants to shift his base from India to the States. His female lead Kareena Kapoor who plays the role of Mira instead wants to get married and settle down in Kanpur.

Abhishek Bachchan plays Lallan, the angry man (perhaps the shades of Amitabh in Zanjeer!) and is the most unpredictable of them all. He believes that his needs are more important than the right and wrongs of others. He lives for himself and feels that he owes nothing to anyone. He is afraid of no one and listens to none. He stays in Kolkata where Rani Mukherjee plays his love interest as Sashi.

The story takes a new turn with an accident on the Second Hoogly Bridge in Kolkata. All the three central characters are involved in this incident and this result in a complete turnaround in their lives. This change, the conflicts, and their interactions with each other form the crux of the film. The film studies the lives, the families and the complex relationships of these three individuals, who are very different, yet are so similar in one way or the other.

A film just cannot have three heroes! There is always the catalyst, the negative character that gives a particular shape to the movie! Yuva has the power-hungry politician (Om Puri), who uses the muscle power of Lallan and his brother to enforce his writ on the city.

There is a small problem. This movie have it all but bad story and screenplay is a spoiler. Diehard Mani Ratnam fans will view this film as an aberration, a pretender. All sound and fury, amounting to not very much. On a scale of 10 this movie scores a 6. The movie lacks a great story, smart screenplay.

Ajay Devgan tries his best to portray the character of a college student; hence the failure of the character to be entirely convincing belongs not to him but to whoever cast him as a college student. Devgan is obviously aging and does not exactly do the role complete justice. His fellow student in the college who are almost half is age also does not help the situation.

Abhishek Bachchan takes us all the way to the bank in this film. He has to smolder, look tough, bash people up, be the sort of man who allows his untamed passions full rein, and he gives it a fair go. Again, casting could have lent the character an extra edge – Bachchan is too clean cut a guy to be fully convincing as a toughie, even with the pumped up muscles and an embryo beard.

In the female leads, Rani Mukherjee steals the scene. She plays her part with an assured touch. Kareena Kapoor underplays – thank god for that (she overacts in most of her films in my opinion) and thus comes across as far more pleasant than her regular hammy self. Esha Deol looks cute as usual and is the surprise package among the trio. Esha gets the least developed character but she still manages to show flashes of her inherited acting genes (Hema Malini was awesome in Baghban).

Of the supporting cast, Om Puri does well as the Bengali politician; Anant Nag in the role of Arjun Balakrishnan’s father has too little to do to deserve more than a passing mention in the footnotes.

The real weak link in the film is disappointingly director Mani Ratnam himself, who takes credit for the story and screenplay. For the classicist, movie scripts have a three-act narrative arc; they build to a mid-movie plot point at which the story spins on its axis, takes on momentum and crescendos to the climax. In Yuva, that crucial plot point is logically the moment when the lives of the three young men intersect – but the screenplay places that right at the beginning of the film, even before the audience has fully settled in. The story then segues into three extended flashbacks, providing the back-story of the three central male characters. The device could possibly have worked had the flashbacks been crisp – the director, however, indulges in over-elaboration to the point where, at the halfway stage, he has only managed to introduce two of the three characters, leaving the third flashback to the second half of the film.

Three quarters of the film’s length is spent explaining the characters, in introducing the three young men and in telling you how they got to be who they are. That leaves the director less than half an hour of screen time to tell his story and showcase the screenplay. The result? A speeded-up conclusion that leaves you puzzled – what is all the fuss about? And more importantly, what is the story about?

This entire area of the story is disposed off in one extended fight scene, followed soon after by the announcement of a result you could see coming a mile off. A sure sense of structure, narrative and pacing is a Mani Ratnam trademark; it is this strength that elevates earlier efforts such as Roja, Nayakan, Dalapathy and Kannathil Mutthamittal above the run of the mill fare. Thus his basic strong points end up being the weak links in Yuva, and this weakness undermines the inherent promise of the film’s theme. I have a feeling that the Tamil version would do much more justice to the talent of the man Mani Ratnam actually is.

Credit: This review was submitted by Ankit

Finally Khalid's review

http://ww1.mid-day.com/columns/khalid_m ... /83964.htm

Googly on the Hooghly
By: Khalid Mohammed
May 23, 2004

Yuva
Cast: Too many to list, yoiks Om Puri as Meanie Ministerji
Direction: Whatever happened to Mani Ratnam
Rating: ***...albeit with reservations

A gulmohar red umbrella, a young woman’s teasing smile, a man torn between love in Kolkata and a cushy life in America. The camera catches all the varying emotions, gliding from a beautiful close-up to a hovering, hawk-like top shot.

Mani Ratnam the master craftsman, in his return trip to Hindi cinema long after Dil Se, is in techno form all right. But wait, the heart dips. Even chronic Ratnam buffs (present company included) will have serious trouble with Yuva, a rather plodding and ultimately purposeless account of three youngish men whose lives are littered with more agonies than you can count on your toes and fingernails.

Honestly, what was Mani sir thinking about? Since he has adopted the crisscross flashback-to-the-future narrative form of the Mexican global hit Amores Perros, all you can say very sorrily is that he should immediately quit watching DVDs. We prefer the writer-director of yore who once told his plots straight, with clarity and unencumbered by gimmicks. Sad.

Moreover, although certain elements may have been picked up from real life characters and incidents on a ferment-ridden Bengal campus, the screenplay is confusing and at points Greek, gobbledygook and Latin. Repetitive scenes, plenty of complicated politics (the concluding scene set in a state assembly is a hoot) and lack of motivation (a heroine tongue lashing a railway ticket checker) are as dismaying as reading a grammatically incorrect novel from a stalwart author.

Despite the continual jerks and disappointments, you don’t give up entirely on the ‘youth’ movie because of its several fringe benefits and pleasures like the ace ensemble performances, the rousing A R Rahman music score, the moody cinematography by Ravi Chandran and the set designs by Sabu Cyril. Expectedly, Mani Ratnam does inspire most of his cast-‘n’-crew to deliver their best.

Clearly, Abhishek Bachchan belts out a rigorous performance that proves once and for all that he has arrived as an actor. As Lallan the Lumpen, he’s one guy who carries a burden of believable complexities. Alternately loving and violent with his wife (Rani Mukherjee, graceful as ever), he tries to go straight but can’t because of the tide of circumstances. In a fit of pique, the wife aborts their first child, plunging Lallan into a vortex of depression and desperation.

The next story looks at the tough and tender moments between a student leader (Ajay Devgan, intensity personified) and his little girlfriend (Esha Deol, sweet and likeable), who’re often debating whether to initiate a live-in relationship. And hello, there’s the romantic kerfuffle about an incorrigible skirt chaser (Vivek Oberoi, appealingly boyish) who finds his match in a coquettish Miss Meera (Kareena Kapoor, bankably sensitive).

Whoa, three heroes are conveniently equipped with three heroines which may be perfect for a formula fantasy and the publicity billboards, but not necessarily for an attempt that aspires to be authentic and hard-edged.
Alas, compromises unlimited yields a distinct oddity. A shootout- cum-mobike-skid on a Hooghly bridge, which forever altersbe the destinies of the sextet, is picturised brilliantly. But again styles scores over substance.
If there’s a message of sorts—let the young takeover the government –it’s about as graspable as a slippery eel.

In support of Ratnam, it has to be pointed out that for some splendid moments like a lovey-dovey tram ride, the performances and the technical sheen Yuva is a notch a two above the ordinary. Don’t expect a Nayakan, Roja or Bombay and you won’t be too disappointed.

I watched AE today and it had potential to be a better film. The Madhavan story is terrific. His character is dark and ruthless, and I would have expected him to ditch his evil ways or die, but that didn't happen. Madhavan gives an incredible performance and shows he has a wide range. Meera Jasmine is good as his lover, though unfortunately the film does not explore their relationship in much depth. Mani Ratnam should have made a film centered around these two.

The cinematography by Ravi K. Chandran was excellent. Each of the three stories has a distinct look, yet they do not look like separate films. The characters determine the look.

The sound design was also good. I heard a weird noise sometimes when people talked, but I don't know if that was a problem with the recording/mixing or with the theater's sound system. I'm pretty sure the only logo at the end was DTS. But it is nice to hear sound that has some atmosphere to it.

The Siddharth/Trisha story is the most standard of the three. I've always had a problem with the way Ratnam depicts love stories developing, and this is no exception. The sense of development isn't very good, and the Hey Goodbye Nanba song, while nicely shot, is an odd fit IMO. Why is there nobody else on that beach? Why is Trisha even in this story? I never found her character to be interesting, and she certainly does not add to the story. How Madhavan treats Meera Jasmine is important to his character, and Esha Deol's romance with Surya is not given enough screen time to be considered intrusive. The picturization of Fanaa in the dance club was reminiscent of Koi Kahe Kehta Rahe from DCH, also shot by Chandran.

Looking forward to seeing Ajay Devgan as a college student!

Ayutha Ezhuthu already declared a Hit

http://www.glamsham.com/movies/scoops/0 ... FFA~awards

Abhishek gets standing ovation at IFFA awards

Abhishek Bachchan received a standing ovation at the IIFA awards at Singapore though his film "Yuva" got a mixed response.
Everyone agreed in one voice that the young Bachchan's performance as the small-time gangster from Bihar in Kolkata was simply stunning.
Looking on proudly were director Mani Ratnam and his "Yuva" crew.

According to those who have seen both versions, the Tamil one is far more raw, violent and in-your-face.
A member of the "Yuva" cast observes: "Somewhere, Mani wanted to make the Hindi version of the story more accessible to viewers. He therefore softened the blow, so to speak, without blunting the impact of the story."

The Tamil version of "Yuva" has already been declared a hit in Tamil Nadu. The fate of the Hindi version is undecided.
--------------------------------------------------------

Mani Ratnam favourite Madhavan fuming.

"How can they review a film before it's out in the theatres? Isn't that unethical? We know how hard we've worked on the film," Madhavan said.

According to some reports, leading lights of the Bollywood film industry are sending SMSs to Mumbai from Singapore saying "Yuva" is a disaster.

"This is nothing but mafia mentality at work to keep
Mani Ratnam out of Bollywood. How can anyone pass a verdict on the film after one screening?" wondered Madhavan.

Does Bollywood feel threatened by Mani Ratnam?

"Most certainly," asserts Madhavan. "Otherwise why try to write off such a brilliant work of art like 'Yuva'?"

Whatever the film's fate, it has done wonders for Abhishek Bachchan, whose villainous star-turn has audiences roaring all over the country.

A star has been born in Abhishek. But is Mani Ratnam going to be accepted in Bollywood after "Yuva"?

Per my prediction, the film(YUVA)was TOO SOUTHISH for NORTH taste inclusive so only TAMIL should work, if any!!so loks like it did indeed in tamil version..I think, my feelings were RIGHT ON THE MONEY!

Actually the report I'm getting from Ayngaran is that most young peeps are still watching the blockbuster Ghilli while much of the older peepes are watching the excellent AVM film Peralagan. Because of those movies there is no space for AE. As a result there are limited shows and limited shows means limited money. Ayngaran bank on recovering the costs with minimal profits. They feel that the film will only become a success for them on VHS, VCD and DVD.

Speaking of DVD something special is happening on the Tamil version....watch this space...

Looking forward to!!
Pls I request Ayangran should refrain from putting hefty DATA on poor one SINGLE DISC DVD 9

I watched YUVA and liked the movie. It's not a perfect film and there is room for improvments.

-I really loved Mani's direction. The way how each scenes are executed is brilliant. The romantic scenes were really gr8 and never becomes corny.

-AB Jr's performance is excellent. His character is well written compare to the other two. He transformed himself to Lullan who is a bad ass mofo and commands the screen. Rani Mukherjee also does a great job as the wife of Lullan who endures through his abuse and still loves him.

-The cinematography is amazing. Kovalam Beach never looked so beautiful. The cinematography compliments Sabu Cyril's art direction. The net effect dvd will be hard to digest after watching this movie in theaters.


-I wish the Micheal and Arjun's characters were more interesting. Their stories are standard stuff. Ajay Devgan is a good actor but he is a miscast here. He does look too old the play the character of a college student. Vivek Oberoi's character have couple of genuine funny moments other than that there isn't much. Esha and Kareena characters are not very important and never becomes annoying. Fanna song is just not Maniratnam. I think he shot that song to improve the commercial value of the movie.

I think YUVA/Aayitha Ezhutu both are DTS only. I can't really comment on sound mix cause the theater only had SDDS and Dolby Digital. So they played the movie in Dolby stereo.

I'm very much looking forward to watching the Tamil version to see how Madhavan, Surya and Meera Jasmine plays their characters.

Hey Goodbye Nanba reminded me of a song in an earlier Ratnam film, Mouna Ragam IIRC, that was also shot on a beach.

It was kinda funny how 50 cent's 'In da Club' was playing when Vivek and Kareena were at the coffee shop. The editing style was also different from what I saw in the promos. There wasn't many stylized Avid ramping and jump cuts that can be found ad nauseam in todays Indian movies. The climax action sequence was good. But blue screen fx was used a little too much.

Some shots was also quite similar to Kanathil, particularly the use of the stranded boat on the beach.

Hey Goodbye Nanba was actually supposed to be more raunchy but was toned down to keep censors happy.

Maybe we'll get more of Trisha rolling around on the beach on the DVD

The print of AE I saw had an A certificate.

I'll take Trisha rolling on the beach over Kareena anyday. Yuva had a U/A censor certificate.

So is MADRAS TALKIES gonna make another Hindi movie after the not so well response from the North? What do you guys think? I personally think ManiRatnam should stick to concentrating his energy and effort to making awesome Tamil films. What's the point of making a film if your work is not appreciated by neither critics or the masses.