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Mausam Reviews !!!! (Page 58)

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Posted: 23 September 2011 at 9:47am | IP Logged

Not quite Van Gogh but getting there

By: viratbond | 10 hrs 25 mins ago viratbond - MouthShut.com member. Read more 6 reviews.

I am not quite sure what to make of Mausam. It is one of those films which undoubtedly

touch you because of the grandiose canvas on which it is painted but leaves you hanging nonetheless. Before I make any comment about the film itself, it is important to highlight that Mausam should be seen for its aesthetic nature. If there is anything that stays with you after the end credits roll, it is definitely the cinematography – those picturesque locales, be it the villages of India or the exotic splendour of Scotland. Why do I put such emphasis on aesthetics? Well, mainly because not many films are made which purely relish and bathe in natural beauty, and when they do, they are mistaken for pieces of 'art' and not entertainment. The biggest mistake I can commit is terming Mausam an 'artistic' experience. As the viewer, you are posited to have a tryst with nature, along with the characters themselves. The camera doesn't rush from one scene to the next; instead it hovers over, letting you seep in the natural aura. Let me clear this upfront: people expecting a tight and racy plot, witty and slick dialogues, item numbers, identifiable heroes and villains would be disappointed. Mausam has none of those. It is a period drama. But it is entertaining nonetheless.

Let me take you through the plot through the symbolic 'seasons'. Pankaj Kapur should be lauded for using this extremely clever plot device, which I might say is a touch Shakespearian. The title of the film 'Mausam' can seem to infer the four seasons that characters experience throughout their journey.

Summer: It is the year 1992. Harinder Singh or Harry (Shahid) is a typical village brat. He bides his time doing all the things that boys are notorious for, all the while waiting for his dream to come true – get the acceptance letter from the Indian Air Force. However, destiny has other plans. His life is thrown in turmoil when in comes Aayat (Sonam Kapoor), a girl who ends up in the village due to the insurgency in Kashmir. This part has all the makings of a summer romance – love at first sight, beginning of courtship, innocence of first love etc. It seems like the sun will shine on the lovers forever. However, the demolition of the Babri mosque signals the end of innocence. Sides need to be taken and the lovers are torn apart amidst the political turmoil. In the meantime, Shahid gets his 'dream' job and gets accepted into the IAF and Sonam moves to Mumbai.

Monsoon: Monsoon, or as Pankaj Kapoor portrays it – the pain of separation. The lovers, now at the opposite ends of the spectrum are hardened by circumstance, not by choice. Shahid begins to settle in his new life and so does Sonam. Any hope of seeing each other again is all but lost and this hardens them both even more.

Winter: Winter or reunion by destiny. Shahid and Sonam meet again at a Mozart concert in Scotland. Sonam is not the shy girl anymore. She has become the vivacious diva, which rather surprises Shahid, melting away his hardness and reigniting his passions once more. You can feel the 'cold' vibes between the lovers and the cobwebs that time has put on their love.

Spring: Shahid gets injured in battle and realises his 'dream' was something else all along. The lovers meet again, this time amongst the carnage of the Gujarat riots. Will love conquer all or will political turmoil once again play spoilsport? The question remains: "The trumpet of a prophecy! O Wind, if Winter comes, can Spring be far behind?"

Even after the clever use of the seasons as a plot device and the beautiful aesthetic nature of the film and the structure of a period drama, Mausam never quite touches the epoch of brilliance. There is still a lot to be desired. Firstly, the circumstances in which the characters are thrown into do not seem to be all encompassing. The characters always have the choice to be together (and no, I do not mean that in an existentialist sense). It is just that regardless of the political turmoil there is nothing that keeps the two protagonists apart. As a viewer, it does seem a bit childish and nave that the lovers could not overcome this one single obstacle. Perhaps if a series of obstacles were placed, things would have been more convincing.

Secondly, the dialogue of the film was very weak. Even though the film relies more on facial expression to convey feelings, it does not completely do away with the necessity of good dialogue. There is hardly any point of reconciliation. Both characters are unable to convey the dilemmas they face to each other and they have many chances to do that. This is where I think Veer Zaara worked much better. It had a similar premise, but we knew what held each character back and both Veer and Zaara knew that too. Also, by the end, Zaara was told what held Veer back and that was in itself a poignant moment. There is no such moment in Mausam. At no point of the film do the characters confess what held them back, not even in the end. This makes for painful viewing because it makes it harder to care for the tragic circumstance of the characters. Also, the predictability of the plot is a big concern. There is no twist, or at least the audience is not kept in anticipation for the fate of the two protagonists. They meet and part, meet and part and after a while you can almost predict the cycle. At 2 hrs 30 minutes, this becomes torturous.

Cast:

I will only comment on Shahid and Sonam's performances as all the other characters were very much fillers. This was very much a lead pair film. Shahid was much better as the younger man in the village. The moustache looked corny, but more importantly, it made him look childish in the emotional scenes when he needed gravitas and composure. Shahid should also never attempt to cry as it is hard to connect with his pain when he is making such a ridiculous contorted face. All in all, Shahid was excellent in the first half, the moustache was avoidable and definitely needs to work on his emotional scenes. Sonam definitely outshone Shahid. She was vulnerable and shy in the first half as the displaced Kashniri girl and vivacious in the second half as the diva. She managed to pull off both ends of the spectrum with aplomb. She also looks stunning in all the costumes she is asked to wear. We saw a glimpse of that in Aisha and we see that again here. Not hot mind you, beautiful. Reminded me of Audrey Hepburn, especially in the second half. She also managed to pull off the emotional scenes much better. The chemistry between Shahid and Sonam was definitely there but it was more spiritual than sexual or romantic. I wouldn't call it sizzling, but rather, poignant.

Pritam's music was good. All the songs were situational but more importantly, gave us an insight into both protagonists' psyche and what they were feeling at those moments. Binod Pradhan's cinematography was excellent, almost unreal at times in its aesthetic splendour. All in all, a decent attempt by Pankaj Kapur that deserves a watch for aesthetic brilliance. Not quite the magnum opus he would have hoped but there is enough to keep you engrossed.


I like this review!

http://www.mouthshut.com/review/Mausam-Movie-review-rpsnrutrnn

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Posted: 23 September 2011 at 9:52am | IP Logged

Mausam First Day To Cross Rs 8 cr

by Box Office India (September 23, 2011)

This week marked the much-awaited release of Pankaj Kapur's directorial debut Mausam, starring Shahid Kapoor in the lead opposite Sonam Kapoor. The father-son duo managed to generate decent openings all over India and in places like Delhi and Punjab, collections were outstanding.

As for other territories in India, collections are growing with every show. Judging from the audience response, most distributors feel the first-day collection would be approximately Rs 8 crore or even more.

On the other hand, Akshay Kumar's Indo-Canadian venture Speedy Singhs, directed by Robert Lieberman and starring Vinay Virmani, failed to engross the Indian audience and cash in on its first day at the ticket counter. The third film to hit the screens was Aron Govil's U R My Jaan, which went unnoticed.

In Mumbai, Rajesh Thadani of Multimedia Combines says that Mausam did average business, with a 50 to 60 per cent opening. But, he adds, collections are improving with every show and are expected to close its first day at around Rs 7.5-8 crore, all-India. Speedy Singhs failed to capture the audience and make a dent in collections.

"In Gujarat, the response to Mausam was outstanding. It did business of 90–100 per cent on its first day," says Thadani.

Delhi gave Mausam a resounding opening. G D Mehta of Bobby Arts International says, "The opening of Mausam was 70 to 75 per cent. Its first day might close at Rs 5.5-6 crore, nationally, and in Delhi, first-day collections will be around Rs 2.5 crore. Speedy Singhs opened at 15–20 per cent only."

Distributors in East Punjab danced to an altogether different tune. Surinder Salluja of Lakshya Movies says Mausam took a decent opening. No doubt, expectations were high as this venture is based in Punjab. It opened at 45 per cent and collections are improving as the day progresses. The first day is predictable to close at Rs 7.5 crore. Speedy Singhs failed to impress and took an opening of 20 per cent."

In West Bengal, Moni Venkatesh of Shri Vekatish Films predicts that Mausam will close at Rs 50 lakh in its first day in the territory, and at Rs 8 crore, all-India. "The numbers have improved from its opening of 45 per cent to 70 per cent in its evening shows. Speedy Singhs has had a bad opening although its reports are decent. It's still not getting the audiences' attention."

Jeetu Khandelwal of Movie Pioneers adds, "In Orissa, the first day response to Mausam is good, and the film took an 80 to 90 per cent opening. It is expected to close at Rs 8 lakh in its first day in the Orissa circuit. The craze for the film is impressive and it is only fair to say that collections are bound to improve. Speedy Singhs did average business at the box office. MBKD is still doing average business."

But in Mysore, Mausam did not meet audience expectations although business prospects appear lucrative over the weekend. B H Basha of Bahar Enterprises says, "The opening of Mausam was not up to the mark and the film has drawn a response only 20 to 30 per cent response at the box office. The response to Speedy Singhs is below average and MBKD is still strong at the box office."

In Bihar, Mausam managed to take a decent opening. Abhay Sinha of Yafhi Films says, "The opening of Mausam was average, with 50 per cent collections. The film is expected to have a better weekend than its opening. Speedy Singhs did business of about 40 per cent and U R My Jaan hasn't released here."



http://www.boxofficeindia.co.in/mausam-first-day-to-cross-rs-8-cr/

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Be.edgy Goldie
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Posted: 23 September 2011 at 10:16am | IP Logged
8 cr first day .. That sounds great to mee.. right?
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Posted: 23 September 2011 at 10:16am | IP Logged

Friday, September 23, 2011

Mausam - Review


A charming weather has more claimants than the weather could accommodate. The spell of the weather soaks the asymmetry of human lives - temporarily - and leaves men yearning for a slice of the magical feeling. The asymmetry, at times, dwarfs the beauty of the nature and makes its imperfections visible.

"Mausam" takes the audience on a slow ride starting from the bumpy streets of a village in Punjab in the year 1992 when a young Harinder Singh (Shahid Kapoor) met Aayat Khan (Sonam Kapoor) for the first time, making way through the snowy avenues of Switzerland and picturesque roadways of Edinburgh to a burning byway of Ahmedabad in 2002. Binod Pradhan's arresting cinematography has perfectly complemented the heard-before-somewhere-yet-stimulating love story between Aayat's innocence and Harry's (Harinder) patience and in parallel, the uprisings that have created history for the wrong reasons.

The underplayed role of the insurrections of 1992 in Ayodhya to the Gujarat riots in 2002 in the love story between a Muslim girl from Kashmir and a Punjabi boy has been critical in adding the imperative feel of the time transpired in between. The characters, Aayat and Harry, have hardly grown physically over the years and the moustache of Air Force Lt. Harinder Singh has barely served its purpose. The classic outdated look of Punjab and Ahmedabad of the 1990s has been mildly absent in the portions shot in Switzerland and the recreated Scotland. Understandably, there must have been a lot of efforts behind the physical maturity of the characters but as it turns out the finished products are a bit too young to be a decade old.

Overall Verdict: 3.25/5

There are convincing reasons why most of the romantic movies of the present generation fail to leave an impression and there are credible rationales behind "Mausam" achieving the difficult feat of being able to make splash. The finesse with which Pankaj Kapoor has graced the romantic routines is beautiful and magnetic to say the least. The subtlety in the expressions of love, the attempts to be heard by the one and the craving for reciprocating have been nicely interlaced, rude would be to not mention the extraordinary ordinariness in Aditi Sharma's jealousy.  The first exchange of words between Aayat and Harry is one of the most beautiful moments in the movie that handsomely seizes the acting talent of Shahid and the elegance of Sonam.

While Shahid holds his excellence till the end of the movie, Sonam never gets beyond her gracefulness and remains limited to a few facial narrations. The movie also fails to finish carving out meaningful people out of characters. Anupam Kher as the Kashmiri Pundit is undoubtedly a good concept with plenty of scopes but left impoverished; ditto for the parts of Akram, Harry's friends and Aayat's father. Sreekar Prasad's versatile editing skills have saved the slow pace of the movie from taxing the patience of the audience. Despite the strong merit of Pankaj Kapoor's screenplay, the movie stubbornly stretches Harry's search for Aayat, making the entire episode a bit too melodramatic. Then you have songs like "Rabba Main Toh" sung by Shahid Mallya, which leaves one mesmerized, the superb restrained comical show by Manoj Pahwa and the gravity in the tone of Supriya Pathak. Still we complain!

It is a challenge to decide on the level of artfulness a director should inject in a commercial movie. "Mausam" tilts towards being more of a work of art with a necessary blend of saleable elements. People with no appetite for poetic romanticism should avoid this movie. 


Edited by vssaras - 23 September 2011 at 10:17am
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Posted: 23 September 2011 at 10:17am | IP Logged
Originally posted by Teenage.dream

8 cr first day .. That sounds great to mee.. right?

Yes..8-9 crore looks a good opening...Smile

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