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 The classic outdated look of Punjab and Ahmedabad of the 1990s has been mildly absent in the portions shot in Switzerland and the recreated Scotland.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.