Youth is a 2002 Indian Tamil-language romantic comedy drama film directed by Vincent Selva. It is a remake of the Telugu film, Chiru Navvutho (2000). It stars Vijay and Sandhya, while Yugendran, Vivek, Manivannan, and Sindhu Menon play other pivotal characters. The film released on 19 July 2002. It received positive reviews and was a commercial hit.[1] It completed more than 100 days in theatres.[2]

The film released on 19 July 2002 and became a commercial success. Critics from The Hindu gave the film a positive review, In regard to performances, the critic mentioned that "Vijay is so used to this romantic sojourn that the essay comes without effort", while it was cited that Shaheen Khan's "magical screen presence is definitely missing".[8][9]

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The film's soundtrack is composed by Mani Sharma and consists of six songs. Sharma reused the tunes for three of the film's songs from his previous Telugu discography: Annayya (2000), Chiru Navvutho (2000), and Kushi (2001), while the rest of the songs are based on new tunes.[10] The song, "Aal Thotta Bhoopathi Nanada", featured Simran in an item number.[11] The title of the song translates to "I am the king of Aal Garden", referring to the now non-existent Hall's Garden region of Chennai with a spelling mistake.[12] Sharma later reused the tune of the song for "Calcutta Pan Vesina", in Raghavendra (2003).

That premise necessarily makes a few demands of the film. Someone had to play Ballinger convincingly, which Michael Caine does. More importantly, though, someone had to compose a piece of music that could plausibly account for Prince Phillip's fictitious fondness, and for Ballinger's fictitious fame. That job was handed to David Lang.

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Sorrentino infrequently stumbles over one bald metaphor too many, like when Fred dismisses a Buddhist monk because he knows "[he] can't levitate" by sheer force of concentration/meditation. But more often than not, the strength of "Youth" comes from the isolated nature of its major set pieces. There are common themes that unite the film's quasi-Fellini-esque episodes, like the elderly couple who never talk at dinner, or the Miss Universe pageant winner who turns out to be smarter than she looks. But each imagistic sequence in "Youth" is like an island that happens to be united to other free-standing islands. Each scene has a life of its own.

This leaves much of the film's heavy-lifting in the hands of its capable cast, and Luca Bigazzi, Sorrentino's regular cinematographer. You have to feel the emotion in Caine's quavering voice, sullen facial expression, and placid body language to fully appreciate Fred's meaning when he says he composed his music "while I yet loved." Sorrentino is a dedicated (albeit ostentatious) sensualist, so the meaning of his images are inscribed on their surface. Weisz and Jane Fonda, who plays a weary, but brutally honest former colleague of Mick's, go far with dialogue-driven scenes.

But more often than not, "Youth" resonates because of Sorrentino and Bigazzi's typically fruitful collaboration. They invest a romantic, playful melancholy in their film's idyllic, secluded Swiss location, which allows their cast the freedom to disappear, wander, or pace about their characters' lavishly-realized set as if it were an elaborate menagerie. Their characters similarly circle profundity, but never quite own it.

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Widespread concern exists about the potential effects that mediaportrayals of drinking, alcohol product placements, and alcohol advertising mayhave on alcohol consumption and problems among young people. Television, radio,film, and popular music are often identified as potential sources through whichyoung people learn about alcohol and as potential influences on young people'sdrinking and drinking problems (e.g., American Academy of Pediatrics, 1996; Gerbner, 1995; Stockdale, 2001; Strasburger, 1993a, b; Villani, 2001). In particular, public healthadvocates routinely call for stricter self- or governmental regulation oftelevision, film, music, and alcohol advertising (e.g., American Academy of Pediatrics, 1996; Hacker and Stuart, 1995;Hill and Casswell,2001; Mosher, 1994;Strasburger, 1993a,b). Community action isfrequently focused on reducing local alcohol advertising (e.g., Center for Science in the PublicInterest, 1992; Woodruff, 1996). The effects of alcohol portrayals and advertisingon young people (e.g., Atkin,1993; Strasburger,1993a, b) andtargeting of youth (Center ofAlcohol Marketing, and Youth, 2000a, 2000b, 2003) and minority communities by advertisers(e.g., Abramson, 1992;Alaniz and Wilkes,1995; Scott, Denniston, andMagruder, 1992) have been raised as particularly salient issues.Recent changes in alcohol advertising policies, such as the decision bydistillers to end a self-imposed ban and begin advertising on television, hasraised further concerns about alcohol advertising and its potential effects onyoung people (Snyder,Fleming-Milici, Mitchell, and Proctor, 2000).

Adolescents are heavy users of television. Extrapolating from recent dataobtained from a nationally representative survey, 11- to 13-year-oldswatch 27.7 hours and 14- to 18-year-olds watch 20.2 hours of broadcastand taped television programming each week (Roberts, Foehr, Rideout, and Brodie,1999a). As a result, they are immersed in drinking portrayalsand alcohol product placements. A recent content analysis of primetimetelevision from the 1998-1999 season, for example, indicates that 71percent of all programming depicted alcohol use and 77 percent containedsome reference to alcohol (Christensen, Henriksen, and Roberts, 2000). Among thoseprograms most popular with teenagers, 53 percent portrayed alcohol use;84 percent of TV-14-rated programming, 77 percent of TV-PG programming,and 38 percent of TV-G programming depicted alcohol use. More episodesportrayed drinking as an overall positive experience (40 percent) ratherthan a negative one (10 percent), although negative consequences werementioned or portrayed in 23 percent of episodes. Underage drinking wasrelatively rare. Only 2 percent of regular characters under the age of18 were depicted drinking alcohol. In another recent content analysis,however, characters between the ages of 13 to 18 were found to accountfor 7 percent of all alcohol incidents portrayed (Mathios, Avery, Bisogni, and Shanahan,1998). When it occurs, youthful drinking or expressed desireto drink is often presented as a means of appearing to be adult andgrownup (Grube,1995). Other research suggests that drinkers tend to beregular characters, of high socioeconomic status, attractive, andglamorous (Mathios et al.,1998; Wallack,Grube, Madden, and Breed, 1990), although youthful drinkersare depicted in a less favorable light than older drinkers. Drinking isoften treated as humorous and is associated with valued outcomes such ascamaraderie (Hundley,1995). Although common when considered at the program level,the prevalence of drinking characters is considerably below that for theU.S. population. Thus, in a recent analysis of primetime programming,only 11 percent of characters over the age of 34 were drinkers comparedwith 52 percent of similarly aged adults in the U.S. population (Long, O'Connor, Gerbner, andConcato, 2002). Only 14 percent of characters between ages 18and 34 drank and only 2 percent of those under 18 drank, compared with61 percent and 19 percent, respectively, for the U.S. population inthese age groups.

Adolescents spend considerably less time viewing movies and movie videosthan they do television. Extrapolating from recent national survey data,11- to 13-year-olds spend an average of 6.2 hours per week and 14- to18-year-olds spend an average of 4.7 hours per week watching movies(Roberts et al.,1999a). In terms of alcohol content in films, recent contentanalyses indicate that alcohol was shown or consumed in 93 percent ofthe 200 most popular movie rentals for 1996-97 (Roberts, Henriksen, and Christensen,1999b). Underage use of alcohol occurred in only about 9percent of these films. Alcohol and drinking were presented in anoverwhelmingly positive light. Drinking was associated with wealth orluxury in 34 percent of films containing alcohol references, and pro-usestatements or overt advocacy of use occurred in 20 percent of thesefilms. Anti-use statements appeared in 9 percent of films with alcoholreferences; 6 percent contained statements on limits as to when, where,and how much alcohol should be consumed; and 14 percent depictedrefusals to drink. Drinking in film is often associated with riskyactivities such as crime or violence (38 percent), driving (14 percent),and sexual activity (19 percent).

Portrayals of negative consequences of drinking are relatively rare. Inall, 57 percent of films with alcohol references portrayed noconsequences to the user. Similar findings have emerged from othercontent analyses. Thus, at least one lead character drank in 79 percentof the top money-making American films from 1985 to 1995 (Everett, Schnuth, andTribble, 1998). Moreover, 96 percent of those films containedreferences supportive of alcohol use whereas only 37 percent containedreferences discouraging alcohol use. Surprisingly, an analysis of allG-rated English-language, animated feature films available on videocassette revealed that 47 percent (38 of 81) depicted alcohol ordrinking (Thompson andYokota, 2001). Of the 81 films, 13 contained scenes set inbars or nightclubs. In 15 of the 38 films containing alcohol, someconsequences were depicted, but in most cases these consequences wereminor (hiccupping, staggering, flushing). None of the films contained anovert health warning about alcohol use, and good or neutral charactersaccounted for the majority of drinking portrayals (67 percent). 0852c4b9a8

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