The Arjun-Meera (Trisha/Kareena Kapoor) affair, in contrast, begins as a casual hormonal fling, which, again, differs from the more high-minded Michael-Radhika (Esha Deol) bond, born of friendship and shared ideals. Inba/Lallan and Shashi are bonded through the ages – as the song goes, he’s kabhi neem kabhi shahad kabhi naram kabhi sakht every loathsome trait comes with a loving one, and she just can’t let go. The dialogues often add vital humour to the drama – after a Lallan-Shashi showdown, she reveals she’s pregnant he retorts, “ Baap kaun hai?” – and had Virumaandi not already viewed the same incident from several viewpoints, Mani Ratnam’s bold, distinctive narration would have seemed even more sensational.Īayitha Ezhuthu/ Yuva isn’t all technical exterior its heart beats with three very different kinds of love. AR Rahman contributes not just a terrific soundtrack, but also an evocative background score with plaintive country-western guitar twangs, full-blooded Orffian chants and alaap-style vocalisations. Each scene delivers, through light and colour, the exact intended mood, without clamouring for look-what-a-great-shot acclaim. The point is, the patches may be from all over, but why complain when the resulting quilt is so ravishingly crafted? Ravi K Chandran’s cinematography is exquisitely invisible. (His mother even exclaims, like Revathi in the latter movie, that she hates not knowing where he’ll turn up next – at a lockup or in a hospital.)
Aayutha ezhuthu update#
The beach song is a Gen Y update of Vaa Vaa Anbe ( Agni Natchatiram), Shashi’s leaving her parents (against their wishes) for her man is a tad Saathiya-like, Inba’s wish that his children shouldn’t grow up like him is right out of Nayakan, and rowdy-idealist Michael is a more fleshed-out Karthik from Mouna Raagam.
Why look only towards foreign shores? Mani Ratnam’s own work is referenced more than anything else. For that matter, the relationship dynamics between Inba/Lallan and Shashi (Meera Jasmine/Rani Mukerji) echo those between Val Kilmer and Ashley Judd in Heat. There’s definitely a stylistic similarity – in the hyper-cut frenzy of the accident that links the three protagonists from three walks of life in the way this accident is revisited before branching off into each of their stories, chapter-titles and all. The pre-release insinuation about Amores Perros being an inspiration turns out partly true.
Aayutha ezhuthu how to#
From the opening credits that zip across like speeding highway cars to the eye-popping climactic action sequence, Aayitha Ezhuthu/ Yuva is an explosion of filmmaking energy first – and secondly, only secondly, is it an example of how to successfully fold messages and ideas into an overarchingly broad entertainment.
Sounds drab, right? It’s actually anything but. Oh, and let’s not forget the overall message: Good Usually Triumphs Over Evil. The life of selfless activist Michael (Surya/Ajay Devgan) is a Serve Your Society appeal, while self-serving yuppie Arjun (Siddharth/Vivek Oberoi) plays out a Redemption Is Always Possible scenario. The portion with hired killer Inba (Madhavan)/Lallan (Abhishek Bachchan) could well be titled Crime Doesn’t Pay. – AAYITHA EZHUTHU/ YUVA IS REALLY Professor Mani Ratnam’s moral science lesson to India’s youth.
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