MSM Motion Pictures and Pooja Entertainment & Films Ltd.’s Youngistaan (UA) is the story of a happy-go-lucky 28-year-old who is forced to become the country’s prime minister for a brief period and how he balances his professional life and his personal life. On the personal front, he is in a live-in relationship with his girlfriend.
Abhimanyu Kaul (Jackky Bhagnani) and Anwita Chauhan (Neha Sharma) are in a live-in relationship in Japan. Abhimanyu’s father, Dashrat Kaul (Boman Irani), is the prime minister of India and is seriously ill. Soon, he breathes his last but not before telling his son to take up the prime ministerial job if offered to him. Akbar Ahmad (Farooque Shaikh) is Dashrat Kaul’s trusted PA. Abhimanyu is actually offered the prime minister’s seat but he is reluctant to accept the post. However, he respects his late father far too much to not fulfill his last wish.
As Abhimanyu readies himself, albeit reluctantly, to become India’s prime minister, girlfriend Anwita throws a tantrum because she sees her freedom going out of the window. Abhimanyu somehow convinces her and becomes the prime minister. The real problems, however, start once Abhimanyu takes charge. Soon, the news of the prime minister’s live-in relationship leaks out to the media which then makes it public. Abhimanyu has to bear the brunt of the media and public backlash for this, and there is resentment within his own party too. But he is not willing to change. The two love birds even discuss marriage but Anwita turns down Abhimanyu’s marriage proposal as she feels, the world cannot dictate when the two should marry. More problems arise when news of Anwita’s pregnancy is out because the prime minister of the country has impregnated a woman without being married to her. Now, some of the ruling party’s own members turn against Abhimanyu.
Elections are announced. The live-in relationship card is used by the opposition to undermine the credibility of Abhimanyu and his party. On his part, Abhimanyu has proposed some changes which are very pro-public, both urban and rural, because he genuinely has the good of the country at heart. So what happens in the elections? Does the country’s youngest prime minister win over veterans and experience in the opposition and romp home victorious or do his unconventional deeds do him in?
Syed Ahmad Afzal, Ramiz Ilham Khan and Maitrey Bajpai have penned a story which is different but, unfortunately, their screenplay looks too far-fetched and contrived to be believable. For one, prime minister Dashrat Kaul seems to have been unaware of his son’s way of life (live-in relationship etc.) to have imagined that he could be the prime minister. Secondly, Anwita’s reaction to Abhimanyu being asked to become prime minister looks weird – anybody in her place would do anything to see her live-in partner become the country’s prime minister but she whines, cries, throws tantrums and it is not even clear why, because the reasons she gives are hardly convincing. Frankly, she was against him entering politics but anybody would understand that being offered the prime minister’s chair even before entering politics is, in a sense, very different from merely entering politics. Again, when news of the prime minister’s live-in relationship goes public, Abhimanyu and Anwita react as if they were so innocent that they didn’t even think that such an eventuality could arise. Likewise, when the news of the pregnancy breaks out, the couple’s reaction to the same continues to be unbelievable. In short, the characters, especially the lead characters, behave in a manner which is most unusual. Even Anwita’s refusal to marry Abhimanyu and the reason she gives for her refusal appear ridiculous. She fails to understand a simple thing – that the prime minister’s job comes with certain moral obligations. Her being oblivious to the prime minister’s moral responsibilities will neither be comprehended by the audience nor appreciated by it.
The first half is boring and slow but the pace definitely picks up after interval. However, since the drama continues to look implausible and forced even in the second half, the impact is minimal. The pre-climax and climax are interesting but the audience, by then, is so bored that their impact is diluted a great deal. Also, the impact of the changes proposed by Abhimanyu is not completely felt by the audience because they are mere proposals (conveyed through dialogues). The dialogues, penned by the writer trio, are okay.
Jackky Bhagnani delivers a uni-dimensional performance in a role which actually required a layered performance as also an actor with a far stronger image. Neha Sharma looks pretty and acts quite well but her character is so irritating that she will not win the audience’s sympathy at all. Farooque Shaikh suffers on account of a weak characterisation. He is so-so. Boman Irani is ordinary. Kayoze Irani, in a special appearance as Zafar, passes muster. Prakash Belawadi leaves a mark as Murli Mukundan. Deepankar De (as Shubhodeep Ganguly) and Triveni Sangam Bahuguna (as Ajay Thakur) lend fair support. Mita Vashisht gets limited scope in the role of Suhasini Singh Deo but she, nevertheless, does a good job. Brijendra Kala (as Desram), Praveen Singh Sisodia (as Radheshyam Gupta), Rajendra Sethi (as Kesrinath Singh) and Sanjay Bhatia (as com¬mentator at the Hockey Games) make their presence felt. Nitin Arora (as Farz Singh), Naresh Suri (as the RAW chief), K.K. Prasad (as CBI chief Inderjeet Sarin) and the rest lend ordinary support.
Syed Ahmad Fazal’s direction is not too convincing. The script demanded very sensitive handling but Fazal’s direction is childish. His narrative style makes the already unpalatable script appear even more unbelievable. Music (Jeet Ganguli, Shiraz Uppal, Sneha Khanwalkar and Shree Ishq) is a mixed bag. The ‘Sangemarmar’ song (Jeet Ganguli) is appealing; the others are okay. Lyrics (Kausar Munir, Shakeel Sohail, Sanamjit, Ahmad Afzal, Jackky Bhagnani, Sneha Khanwalkar and Siddharth Banerjee) are alright. Choreography (Bosco-Caesar, F.A. Khan and Mansi Aggarwal) is fair. Salim-Sulaiman’s background music is quite effective. Amalendu Chaudhary’s camerawork is fine. Sets (Sumon Roy Mahapatra, Nakazawa Shuhei Dsign Company and Aparna Sud) are good. Anuradha Singh’s editing could have been better.
On the whole, Youngistaan does not have the soul-stirring quality so necessary in a film of this kind. Although the last couple of reels are fairly nice, the implausibility of the drama makes it rather unpalatable for the audience. It will, therefore, fail to make its mark.

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2 Responses to

  1. Sir Please Also Include Stars in

  2. Pingback: Youngistaan Movie Review- Critics

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