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Mausam Reviews !!!! (Page 87)

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Posted: 25 September 2011 at 11:34am | IP Logged
Anyways here is an interesting take on the film, critics and melodrama:

Mausam arrived in theaters on September 23rd after a long, difficult production process. For over a year, those of us who follow the industry news have been hearing stories of onset injuries, troubles between the two leads, delays caused by weather, and, last week, delays caused by the Indian Air Force. Not to mention the tensions that must have risen from the stormy relationship between father and son, working together for the first time. Mausam seemed to be cursed. Could actor turned first time director Pankaj Kapoor handle this sprawling film? Would the off-set drama negatively affect the on-screen drama? And what did happen to that horse?


When I'm going to see a film that has just been released, I rarely read the reviews beforehand. I don't like to have my expectations colored by somebody else's experience - especially when that "somebody" is a critic who viewed the film in a press screening in the middle of the day on a Wednesday and with an eye to furthering their own agenda, whether it be showing off voluminous knowledge of film technique or demonstrating superior taste by jumping on (or off) the latest bandwagon. Recently it seems that the only film that will please this small minority of viewers is one that is put together in Hollywood-style middlebrow realism, with every filmi touch covered in visible air quotes. (Think of the Disco Uncle song in Delhi Belly.) Quite a few films I really enjoyed have been slammed by critics for being melodramatic, over-the-top, or just plain stupid - three charges were leveled against the lovely Mausam.

The melodrama charge was flung at Mausam like a pejorative by more than a few reviewers, even those who gave the film fairly decent scores. But what is the melodrama they find so loathesome? Melodrama is drama that is written to evoke an emotional response from the audience. It's not written for logic or for cleverness or for originality (although it doesn't need to exclude those) but the main goal of a melodrama is to get the audience to feel something, collectively. And what's wrong with that. Well, to pull a quote from a great blog post on the topic:

Twentieth century critics have taught generations of students to equate popularity with debasement, emotionality with ineffectiveness, religiosity with fakery, domesticity with triviality, and all of these, implicitly, with womanly inferiority. (Jane Tompkins (1985), Sensational Designs: The Cultural Work of American Fiction, quoted by Christine Gledhill (1987))

This nasty strain of Western critical thinking has affected more than a few reviewers looking at popular Hindi language film.

But back to Mausam.

The film opens in the Punjab. We meet the carefree village boy Hari (Shahid Kapoor) who enjoys nothing more than hanging out with his gang of friends and trying to make life interesting. He has been waiting for two things - his letter to join the Air Force and a girl to fall in love with. While the first is on hold, the second comes strolling into this life in the form of delicate Aayat (Sonam Kapoor, no relation). The two fall in love; Hari's adorably clumsy attempts to woo Aayat elicit shy glances and an infectious giggle. Unfortunately, things don't quite work out and the film follows the lovers as they are reunited and separated and reunited and separated through the years, from Edinburgh to Ahmedabad, torn apart by violent events and brought back together by fate.


I'll start at the obvious place - Shahid. I've had no doubts about Shahid's ability to carry a film on his own since seeing the delightful, if very silly Chance Pe Dance. Sometime in the last couple of years, Shahid has really figured out how to grab and hold the camera (let's all just pretend the abysmal Badmaash Company never happened) and Hari is a wonderful character for us to see his charms. Hair is a dreamer who literally wants to have his head in the clouds... as a pilot. He's not interested the mundane things around him, even when those mundane things come in the form of the reasonably cute (and excellent sweets maker) Rajjo (Aditi Sharma). Aayat is not just a new face in town, she's been marked by tragedy and exists in the same dreamy space as Hari. They fit one another in a way the mundane Rajjo can't figure out.

As Aayat, Sonam Kapoor is able to put her fragile looks to good purpose. Aayat is a refugee from Kashmir who, as a Muslim, is constantly on the run from communal violence. We see her praying, dancing, and daydreaming. She also lives with one foot off in the clouds, presumably in a happier place where she doesn't have to run from crowds carrying flaming torches every few years. As Aayat, Sonam's hollow eyes reminded me of another young survivor - Audrey Hepburn, so gaunt and hungry, who famously lived through World War by making flour out of tulip bulbs.

Aayat loves Hari's zest for life and Hari loves Aayat's otherworldliness. And nobody else can compete with that. This bond is the main thread that ties the film together but the leisurely pacing of the film gives the romance room to breath and lets us feel what Hari and Aayat are going through; we long for closure to the romance as much as they do.

But there is more going on than a romance in Mausam. The film is packed with memorable characters who fill village scenes with mirth (including the always welcome Manoj Pahwa) and add pathos to scenes of sadness (including Anupam Kher, who is always welcome when he's not in comedy uncle mode). Their little dramas added so much to the film - Hari's tubby friend Dippe getting married; Aayat's cousin moving to the United States; Hari's sister's (who is this actress because she was EXCELLENT) long distance relationship; Aayat's father's best friend suffering a loss... they added a nice depth and gave the romantic melodrama something to be contrasted against.

The characters give us a personal stake in the tragic events swirling around Hari and Aayat and that's what good melodrama is supposed to do. The communal violence and war depicted in Mausam isn't the heroism and politics depicted in films like LOC Kargil nor is it the jingoism depicted in films like Border. Pakistan is the nameless enemy; communal violence is perpetrated by nameless mobs - not individual people. And of the myriad of problems that Hari and Aayat face, their religious backgrounds is pointedly not one of them.


It's not the story or characters on their own that make Mausam such a compelling watch. Pankaj Kapoor has scaled his film for the big screen, movie theater experience. It's a larger than life film that needs to be seen in a larger than life form - and in a format that doesn't allow for easy distraction or fast forwarding. A lot of the smaller moments of a film like Mausam would vanish if the viewer's attention was half on Twitter or Facebook. And the visuals are designed to be see BIG, whether it's a rain-soaked rooftop meeting or a village fete.

As for the rest - the music was lovely. I've been listening to the soundtrack for a while and the songs felt well placed. The costumes were beautiful, especially Sonam's Anthropologie look* in Edinburgh. The outdoor locations added a lot to the very organic feel of the film. And the dancing was, thankfully, all Shahid. Sonam has many talents but dancing is not one of them.

All in all, I was very satisfied with my Mausam experience. The film isn't perfect by any means. It does drag a bit during the middle of the second half, although it immediately picks back up again once the action moves to Ahmedabad and the final sequence, which begins with the Dandiya and continues to the nail-biting climax was pure bliss. Some of the filmi medicine was silly and I did wonder what happened to Uncle Macho (Anupam Kher's character) but, all in all, it was a highly satisfying film. And I'm not too proud to admit that I had some tears trickling down my cheeks by the end.

If this is the kind of film that Pankaj Kapoor can make, I say... bring it on! I've seen some wonderful melodramas out of the South Indian films industries - like Madrassapattinam - but Bollywood in recent years has let it's focus narrow and run time shorten. The sprawling, epic, emotional melodrama had all but vanished. I hope Mausam is a signal of the genre's rebirth and not a beautiful swan song.

http://filmigirl.blogspot.com/2011/09/mausam-and-horsie-makes-four.html

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Posted: 25 September 2011 at 11:46am | IP Logged
Watched it last night ... the promos were so deceiving and im upset after watching Mausam. Shahid and Sonam have ZERO chemistry, at places she looked older than Shahid. It was too long and the second half was extremely boring. 

I would give it a 2/5 and recommend to watch it at home so u can have the privilege of forwarding it.Thumbs Down

moon.river Goldie
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Posted: 25 September 2011 at 11:55am | IP Logged
Originally posted by LifeOLicious

Anyways here is an interesting take on the film, critics and melodrama:

http://filmigirl.blogspot.com/2011/09/mausam-and-horsie-makes-four.html

Woah, this is interesting. Such a positive view towards the movie. Makes me wanna watch it so bad!!
I'm so pissed they stopped showing it in theatre here..Disapprove


Edited by moon.river - 25 September 2011 at 11:56am
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Posted: 25 September 2011 at 12:42pm | IP Logged
I feel so bad for Shahid, he don't deserve thisDisapprove
fly2me IF-Sizzlerz
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Posted: 25 September 2011 at 1:21pm | IP Logged
My Review:

It was Houseful. Felt great. Lol.

Ahhh!!<3333
The satisfaction of watching a good movie!Approve Specially when everyone in the theater is enjoying, laughing, crying, whistling. Ahhh! <3 Love, love, love.

OH!...SPOILER ALERT. READ AT YOUR OWN RISK.


I want to start off by...why the hell are the "critics" writing off this movie?...They can watch shizz like Double Dhamaal, Ready and what not and give it high ratings but they can't do that for a movie like Mausam?!. -___- Some bs, i tell ya. Total rubbish.
A honest request to everyone that has not watched the movie yet: Do not let the reviews you have read paint a picture of the experience that you will have when you watch this film. And please do watch it on the big screen...its meant to be watched on the big screen. The experience is just mind blowing.
:)

Anywayss...back to my review...
Mausam is nowhere near flawless. But its honesty and simplicity makes you look past it all. Its just beautiful.

The number one thing that i adored about Mausam is that it isn't the obvious average, boy meets girl movie that we always see in our Bollywood films. Its different. Instead of conflicts between the leads its conflicts in the surrounding of the leads. Its about how love can survive, no matter what. After a LONG TIME i have been satisfied with a movie. And it feels good. Haha. Finally a movie that stays in your heart and mind.
To me, it made me think...in this day and age, does love like this still exist?...Is this really larger than life or it is still possible? Can our hearts and mind go beyond what's happening in our surroundings to just be with the love of your life? Do things like this happen anymore? Its easier to give up than hold on...If you love someone so much...are you willing to wait or will you just move on? Its easier to move on. But if its true love...your love can survive. No matter what. Love is sacrifice, patience and faith!(;

Just a few thoughts that were going through my mind after the movie...sorry if i got too mushy.Blushing

I love romantic films...obviously. LOL And this one was no different. I loved it, i did. And what made me love it so much beside the story was Shahid and Sonam. How can one like a film if you can't feel for the characters. Shahid is excellent in it and Sonam has improved. They did a fab job...Nothing is forced...and i loved that about it.

-Shahid: This is a BIG leap for him as an actor. He definitely deserves a standing ovation. And he definitely got one from the theatre i was at. He is impeccable in it. Every shade that he goes through in the movie...you feel for him. Harry is a wonderful character for us to see his charms. EFFORTLESS.
-Sonam: Everyone agrees that she has a lot to learn as an actress. Well, i am happy to say...she has improved. A lot. She does great justice to her role and her looks help as well. She looks like Aayat and acts like Aayat. Yesh, i just said acts!(; This movie is a winner for Sonam as an actress.

Special mention:
Aditi Sharma: She does a marvelous job as Rajjo. I felt so bad for her as the character. She played it well!(:

Dialogues..
Love, love, love, LOVEEE.
..I don't think i need to say more. Lol.
I have a lot of favorite dialogues from the movie but my most fav. has to be this one:
"Bure logoun ke na naam hote hai na surat, sirf ek bura saya hota ha"
<3
You will understand it once you watch the film!(;
[I think i quoted it correct...if not, its somewhere along those lines. Lol. Sorry.]

Scenes...
Everything is just so breathe taking. I loved every bit of it. Some of my favorites:
-Every Punjab bit. Ohmygosh. I wanna go to Pubjab. Lol.
-Actually...every other place as well. The cinematography is purely amazing. The movie is visually pleasing.
-I LOVED the attack on tiger hills or whatever. Very beautifully shot. AND i loved all the scenes that leads to how Harry's hand is paralyzed. Touching.
-Abhi na jao chodkar...this was such a surprise and freaking AHHHMAAZINGGG! Hah! I loved it. <3
-My FAVORITEEE:
Their reunion in Ahemdabad after the fire and all that jazz. The dialogues after that were just out of this world!... Ohmygosh. I am not going to lie...when they were sitting down talking and saying those dialogues...i was silently shedding a few tears. Its was beautiful. Words cannot explain. <3 I sort of wished the movie ended here instead of the whole saving the horse and the baby thing. But i didn't mind that as much as others did. I mean...DUDE! You can watch a police officer kill someone with a kick or beat someone up with a belt over and over and over but you can't watch a ferris wheel scene? Something different? -___- Lol. Anyways. That's just the way i look at it. But i do think the movie would has had a better ending if it would have ended before the ferris wheel thing. Nevertheless...it was beautiful.
 

Pankaj Kapoor...
If this is his first movie...i CANNOT wait for more. Bring it on!!(:
Great first direction. And writing too...BUT...the script was its biggest flaw.
Which brings me to Mausam's flaws...there are just 2.
1) The script. - The second half could have been better. And like i said before, i wish the movie would have ended before the ferris wheel scene.
2) Editing. - It needed some editing...if some scenes would have been edited the movie would have flowed better. There were some unanswered questions. But...all the choppy editing did not take away from the essence of Mausam.


Overall...Don't miss this one. Its fresh. Gives you your money's worth. It has great moments, memorable characters, great story, great music, great acting, its beautifully shot, and everything elseee...(:

A great balance of art and mainstream cinema. This one is a winner in my book. DEFINITELY watch this.

8.5/10!
(:

P.S. So sorry, its so long. I did not think i wrote so much.LOL
<3



Edited by fly2me - 25 September 2011 at 1:22pm

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Posted: 25 September 2011 at 1:27pm | IP Logged

"Mausam"… Dil-vil, pyar-War

In Cinema: Review (Hindi) on September 25, 2011 at 11:05 am

Love is war in Pankaj Kapur's Mausam, and this thesis is most manifest in a minor character named Rajjo (played beautifully by Aditi Sharma). Rajjo loves a neighbour – in other words, a man just across the border – but her desire for a longstanding bilateral relationship is thwarted when another woman invades his heart. This woman, naturally, becomes the enemy, and in a move worthy of a Cold War double agent, Rajjo grants her asylum – at a later point – and subsequently betrays her confidence. Rajjo, meanwhile, has made her peace through a meaningless treaty, a marriage, with another man, but like a homesick NRI, her heart still beats for her neighbour, with whom she has now established an uneasy dtente. She gets to voice this film's summing-up statement when she bursts into Ajeeb dastaan hai yehkahan shuru kahan khatam, a song from a film whose title could well be the story of Rajjo's life: Dil Apna Aur Preet Parai. The song speaks of a strange journey, with no discernable beginning or end, and that's what this film's posters promise: a "timeless love story."

If you think I'm reading too much into Rajjo, you haven't begun to scratch the surface of this narrative, which is a strange journey indeed, with no discernable sense of beginnings and ends. Mausam gets going in a quasi-realistic mode (in the sense that we are not thrust into the outr tableaux vivants that tip us off in, say, a Bhansali movie that what we're watching cannot be evaluated with the "realistic" yardstick) and ends under the light of the full moon, with the prince evading the ogres in the forest and crossing the river of fire (the inevitable evolution of the burning coals that formed the film's first image) and freeing the white steed and walking off with the princess towards happily-ever-after, finally liberated from the decades-long curse on their coming together. What a jaw-dropping (and frankly mad) conception this is, even if the execution leaves you wringing your hands about how much more wondrous this could have been. Mausam is a film where almost as much goes wrong as right, and the fatally lightweight leads don't have it in them to convey the bitter blight of a star-crossed romance, but the highs are breathtaking and you come away thinking that this is the most that could have been made of this story in the commercial climate of this age, that this imperfect film is the most perfect this moony material could be shaped into for today's multiplexes.

At least Rajjo's war is merely metaphorical. Harry (Shahid Kapoor) and Aayat (Sonam A Kapoor), on the other hand, are wrenched apart by literal warfare. Thanks to the Forrest Gump-ian whimsies of Pankaj Kapur's narrative, their story glides through the troubles in Kashmir, Ayodhya, Kargil, Gujarat – even 9/11. What conspires to keeps the lovers apart isn't parental opposition or religion but capital-F fate, whose idly malevolent presence isn't felt in the early scenes which unfold in Mallukot, Punjab, with the same pace at which life unfolds in Mallukot, Punjab. This is the most easily digestible portion of the film, and there's a fragrance in these mustard fields that we do not find in the overproduced Yash Chopra romances. Harry and his friends play cricket and chomp on sugarcane sticks and dream, lazily, about the future. The director establishes a wonderful sense of time and place and mood, casually hinting that this is a still a world when a professor named Bashir is an unquestioned part of the community, and even the smaller characters like Harry's sister and her London-returned fianc are memorably etched.

Their wedding is when the film begins to change gears, inching near-invisibly into the fantastic and the fabulous. As Hindu fanatics demolish the Babri Masjid, these winds of tumultuous change blow into this quiet and hitherto sun-drenched village – literally. Strings of wedding lights begin to sway in unexpected gusts and a storm breaks out and the wedding pictures have to be taken in shelters away from the rain. This is when I suppose you will decide whether to stick with Mausam or not, because the rest of the film builds ever-so-gradually on this hyper-realism until, by the end, we're completely snapped free from any sane semblance of "reality" (as we narrowly define it in the movies). Even the solidly geometric construction of the first half – first, she enters his life and vanishes without a word, then he enters her life and vanishes without a word – loosens gradually into a vaporous nightmare, and we feel we've lost sense of time and are trapped in a fever dream where all we hear are hollow echoes.

If I had to guess, I'd say that Pankaj Kapur's favourite writer is Marquez and his favourite filmmaker is Ozu. Mausam is suffused with Marquez-like (and Marquez-lite) longing, that dull ache brought about by too much love, and this sentiment – again – is literalised through a song, a classic ode to yearning from an older film, Abhi na jaao chhod kar. And from Ozu we get the dispassionate style and the emphasis on the before and the after but not the during. The big moments, the dramatic moments occur off-screen. The wars play out on television and in letters, and what we see is the effect of these conflicts on the lives of people. (It's like how Ozu dwells on marriage in many of his films, but we don't see the ceremonies the narratives have been building towards, but simply the befores and the afters.) When Harry and Aayat meet after seven years, we are not allowed the cathartic wallow through a melancholic song that might have telescoped the passage of these seven years, and instead we witness their parting and subsequently their reunion, where they talk as if they last met seven minutes ago. And later, when they are separated again and when her handwritten letters don't reach him, we are not shown the natural dramatic conclusion of this contrivance, where Harry would return to his ancestral home and throw open the doors and find these piles of communication and drop to his knees in shock and sorrow. We see Aayat writing out a letter. We then see, much later, a letter in Harry's hand as he tacitly acknowledges its role in his continuing separation from the love of his life. Hindi films thrive on the during, the big moments where big things happen, and Mausam walks away from these moments with practiced disdain. (The exceptions are a mistake, as when Harry is seen piloting over Tiger Hill, even if we're not shown actual warfare with enemies whose faces reduce them to real people. There's a reason Ozu never ventured much outdoors.)

That's why I think it's wrong to market these films like regular love stories with pretty people that young audiences relate to and swoon over. These are mainstreamed art films and when audiences are promised, through promos, some sort of commercially viableVijeta – which, though considered an "art film" in its time is much more accessible thanMausam, and it's a something of a crushing life lesson to compare the fragile Supriya Pathak from there to her mordant, matronly presence here – they walk in for a romance-infused tale of valour. And instead, they get this languorous odyssey through the mists of time, crossing continents and hinged on historic events, where televisions and trains are as much characters as the people inside them. (Several key moments in Harry's life occur on trains, most memorably one in which he thinks he has forever lost Aayat. At this point, you can almost imagine him in another movie and on another train, singing, wishing, praying, like Shah Rukh Khan did, Aayat ki tarah mil jaaye kahin…)

Shahid attempts to hide his boyish looks by slapping on a moustache and by sprouting a beard and by concealing the exuberant twinkle in his eyes behind Aviator sunglasses, but like his sylphlike co-star, he just doesn't age convincingly. We sense the passage of years in the narrative but we don't see it on their faces and in their eyes. But a bigger problem is that of mood. Every time the director cuts away to a foreign location – especially Scotland, with waltzes and the ballet and Mozart concerts that limit themselves to Eine kleine Nachtmusik – we embark on yearnings of our own, to return to India. This is the geography the director is most comfortable in, and these are the people he's most comfortable with (a special nod in Manoj Pahwa's direction), and the heart sinks when the film steps outside, where the happenings become quite risible at times. Couldn't the same plot about criss-crossed lives and fates been situated in various parts of our own vast nation? But hours after walking out of Mausam, I couldn't shake the film off. It's very problematic  but it's also one of a kind, and I was thankful that, save for the odd shot of the shirtless hero meant to showcase his sexed-up star appeal, the film never panders or plays safe. If you go in knowing what to expect, you might be surprised at how unexpected a Bollywood romance can get.

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Don't know how accurate they r 

prakashjaju Prakash Jaju 
Correct figure - Mausam - Fri 7.33 cr, Sat 7.52 cr

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