Yuvvraaj 2008 Movie User Reviews - Page 13 of 19

Ratings

User ratings

220 ratings

3 Good

Rating analysis

Excellent
44.1%
Very Good
9.1%
Good
8.2%
Average
7.3%
Poor
31.4%

Critics Review

Reviews

divyanair

SUBHASH GHAI is known for his opulent cinema based on strong script. In YUVVRAAJ, in the former…

SUBHASH GHAI is known for his opulent cinema based on strong script. In YUVVRAAJ, in the former department, Ghai doesnâ€™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 Salmanâ€™s poverty (never mind he wears designer clothes, stays in six star hotels and zooms across countinents), Katrinaâ€™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 doesnâ€™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 â€˜childâ€™ 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 editorâ€™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 Lalâ€™s amazing cinematography and Katrina Kaifâ€™s exquisite porcelain beauty. Kabirâ€™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 doesnâ€™t disappoint for just as the canvas is huge, the music is stupendous. Melody to ears was when strains of Beethovenâ€™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. 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, â€œMy romance is not passionate â€“ its more fun,â€ 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 â€“ 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, Katrinaâ€™s beauty, and for Rehman, the music maestro from whose baton flows music that you want to simply revel in.

uyyouver

O my God Very Booring Film PLS But Salman is a Tv Actor Not a Film Or Bollywood Actor.

riteshroy

Stay away from Yuvvraaj. Just keep way from this dungheap of a movie thatâ€™s offensive beyond…

ruhishahin

Drona and Love Story 2050 have competition in vying for the position of the most disappointing…

Drona and Love Story 2050 have competition in vying for the position of the most disappointing films of 2008. Yuvvraaj is a potential contender. It's not just a bad film but a boring film. And a boring film can be much more taxing than a bad one. It no more surprises that Ghai could make such a shoddy film, especially after he has reinstated our despair through duds like Yaadien and Kisna. In fact he washes away the diminutive hope that one might have had after Black and White. Yuvvraaj starts as the story of Deven (Salman Khan in his anglicized accent), a chorus singer in Prague. Love is literally in the air as he starts floating around rainbows (without any flying colours) while dreaming of marrying an eternally cello-playing Anushkha (Katrina Kaif). The age-old aamir-ladki garib-ladka formula is thrown into picture with the girl's father objecting to their marriage. There is a strong Munnbhai MBBS hangover to the plot with Boman Irani posing as the father and moreover playing a doctor in the laughter-therapy mode. As characteristic to Bollywood heroes, Deven actually happens to be from an affluent family who he left behind long back. His billionaire father is now dead and Deven is only happy about the fact as he approaches his family to seek his share of property. From hereon the story deviates to the 80s jaydaad-ki-ladaai as you are introduced to endless characters who want their share from the ancestral assets. You are familiarized with a Sooraj Barjatya kind of unkind family, prominent amongst which is a blue-lens malicious mamaji and a perpetually cleavage-popping bhabhiji. The family also comprises of two brothers of Deven. Danny (Zayed Khan) is a spoilt brat. Gyanesh (Anil Kapoor ) is mentally challenged. And the father chooses to assign his prime property to the latter. Consequently characterless people take charge as they want less characters in the property share. The script by antique writers Sachin Bhowmick and Kamlesh Pandey has a dated feel and lacks any sort of innovation in storytelling or intelligence in screenplay structure. Subhash Ghai's worn-out direction only makes the proceedings worse and wearisome. The scenes are jumbled with continuity lapses and the dialogues range from clichÃ©d to preposterous. Only Salman Khan can pass off with such ludicrous lines like, "Abhi toh sirf well-done kiya hai, abhi dun-dun karna baaki hai" or "Tumne bharosa kiya, now trust me". Whatever that is supposed to mean!