But the veteran consumes too many reels to harp on the pointin these days of instant emotions, where people want even the dream sequences to have some reason. Here they come and go to accommodate some exceptional compositions of A.R. Rahman, who has shown tremendous command over Western classical. In fact, in Rahman’s music, Ghai has an ace up his sleeve, which allows him to take a leisurely pace and larger than life ways. Alas! he doesn’t have much novelty to fill in between what could have been a great musical.

The predictability of the script, dated shot taking and editing patterns gets exposed much more in front of the experimental music. They are just not in sync. The dialogues have the bite, but once you get to know that you are gradually moving towards the ‘happily ever after’, it appears the protagonists are going through the motions.

Ghai seems to have forgotten that taking the audience on a tour to scenic Prague, Austria and London no longer cuts much ice and Zayed Khan could not extend a helping hand when the script is lagging for a few moments. Here he has been put against the likes of Salman Khan and Anil Kapoor but could never establish himself as a contrast to the seasoned pros. And in melodrama, the black has to be strong enough, for white to have its effect.Apart from Rahman, what brings cheer to Yuvvraaj is Salman Khan and his real/reel chemistry with Katrina Kaif. In fact, Ghai has to rely on the star’s magnetic appeal for his drawn-out vehicle to sail through. Katrina’s presence and her spats with him makes it all the more realistic.

Credit to her, she has been able to maintain her facial innocence, something heroines find hard to maintain these days. Anil Kapoor has smoothly repeated his Eeshwar-act. We waited for the climax, but the drama ended without a bang. Wanna return to the formulaic, have a date with Yuvvraaj, else let it pass.

ANUJ KUMAR

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