Every debutant’s maiden film serves as a litmus test, and for Yuva Rajkumar, hailing from the Rajkumar clan, the weight of legacy looms large as he steps into the cinematic world. Backed by the reputable Hombale Films and guided by director Santhosh Ananddram, the stage seemed impeccably set for a triumphant launch. But amidst all the promise, does Yuva truly deliver the apt inaugural act for Yuva Rajkumar?
Director: Santhosh Ananddram
Cast: Yuva Rajkumar, Sapthami Gowda, Achyuth Rao, Hitha Chandrashekar, Kishore, and Gopal Krishna Deshpande
The film kicks off amidst the pulsating energy of a college campus. Reflecting the protagonist’s rebellious streak, every scene is filled with our hero riding bikes, puffing cigarettes, and downing beers. The action takes precedence and very few dialogues are heard, particularly in the initial fifty minutes. Within the confines of Mangaluru’s college life, a fierce conflict brews between local boys and hostel students, morphing into a full-fledged gang war. Yuva finds himself ensnared in this web of violence, a victim of ego clashes. The hostility within the hostel intensifies, with Yuva’s girlfriend Siri (Sapthami Gowda), who is also studying engineering, becoming a target. While the action sequences add vigour to the narrative, they fail to elucidate the underlying reasons behind the tumultuous gang wars, leaving a void in the storyline. Action chore ographer Arjun Raj’s task becomes paramount, requiring him to infuse each fight sequence with thematic significance to propel the plot forward. It isn’t until the introduction song, Obbane Shiva, which appears roughly at the 45th minute, that we are offered a glimpse into Yuva’s background, depicting strained familial relations typical of many youths.
In essence, Yuva straddles a precarious line between the first and second half of the film, tethered together only by the glimpse of Yuva’s father (Achyuth Kumar), who is seen at college premises, berating his son for not living up to expectations. There is also a hint of a sports-centric background, with Veeranna Doddmane (Kishore), the wrestling coach training Yuva, being in the dock for having taken a bribe. The story mainly gains momentum in the second half. As Yuva returns home after completing his engineering degree, he is confronted with the stark reality of his father’s disappearance, driven underground by mounting debts. On the other side, he is banned from wrestling due to match-fixing allegations. Yuva, who grapples with the weight of familial responsibility, shouldering his duties as a son, takes up the humble role of a food delivery boy, he contends with relentless harassment from creditors seeking repayment of his father’s debts. As the film progresses, we are given a close-up look at the life of food delivery boys in general and the humiliations they face both in and out of their work.
The narrative pivots on Yuva’s quest to find his missing father and alleviate the burdens weighing on his family, including his supportive sister (Hitha Chandrashekar). Amongst all this, will he strive to fulfil his aspirations of returning to the world of wrestling? Yuva serves as a gritty exploration of a youth’s journey from being an angry young youth during college, navigating ego clashes, to taking up family responsibilities. Santhosh Ananddram has taken ample space and time, to elevate Yuva’s role as a mass hero. The director has made Yuva Rajkumar convey more through subtle gestures and expressions, relying less on words and more on the language of his eyes and body, amidst rigorous action sequences, bombarding at various intervals. Santhosh’s signature style comes through in the second half, where family values are highlighted, paralleling multiple episodes such as finding the missing father, turning into a delivery boy, the quest to be part of wrestling, and shouldering responsibility. One may wonder why Santhosh never found much space for humour, which would have added a refreshing essence. Yuva Rajkumar in his debut finds himself immersed in an abundance of action-packed scenes and gets an opportunity to showcase his dancing skills, and little into wrestling as well. In certain scenes, particularly in the songs where he engages in exercises or whether it is the dance moves, Yuva Rajkumar’s mannerism echoes his uncle, Puneeth Rajkumar. Yuva Rajkumar, who has room for improvisation, a trait that is likely to be explored further by the actor.
Sapthami Gowda, as a love interest, plays an important role as she becomes a pillar of strength, standing by Yuva through thick and thin. However, her presence is minimal in the latter part of Yuva’s journey. Achyuth Kumar has a strong role to play as the father, and he portrays it well, especially in scenes where he witnesses his son’s win at the ring, evoking emotions. Sudharani’s presence is felt, but Hitha’s role is focused.
Kishore’s portrayal as a coach is perfect, yet it feels like there needs to be more impact. Accompanied by Ajaneesh’s music, which harmonises seamlessly with the narrative, however, with the exception of the ‘Appuge,’ song, the tracks do not enhance the story. While cinematographer Shreesha Kuduvalli captures Yuva’s character essence, up and close and Achyuth Kumar’s emotive expressions, his work on the college scenes and aerial shots is impressive. Yuva serves as a gritty exploration of a young man’s journey. While it may slightly falter in its execution in parts, the film’s sincerity and earnestness ultimately shine through. The simple yet emotionally touching ending, punctuated by a poignant moment featuring Puneeth Rajkumar, strikes a chord, underscoring the enduring themes of redemption and familial bonds. In summary, Yuva speaks louder in angst-fueled action, echoing family bonds.
