Film review | Mausam

Film review | Mausam


A review of Mausam is as much an assessment of actor Pankaj Kapur’s ability to take on the complex role of director as it is of the film itself. The calibre of the direction is inevitably going to be compared with Kapur’s acting prowess. The two do not match—the latter being streets ahead.

Cut to seven years later. The setting is Scotland, where fate reunites Aayat, a dance and music student, and air force pilot Harry. It’s 1999, but rather than moving forward, the film seems to have stepped back in time. Ringlets in Aayat’s hair, gowns, ballroom dancing, horse-drawn carriages and Harry’s Chaplin-esque moustache defy the march of time towards yet another political event that is going to throw the lovers asunder.

In the 2 hours, 45 minutes running time, the film travels from 1992 to 2002, and from Punjab to Scotland, Kargil, Switzerland, the US and Ahmedabad. If you know your current affairs, you can plot the events the script enlists to affect these star-crossed lovers. But that all these events should affect this couple time and again is implausible and, after a while, tiresome. Also, the use of snail mail and rotary phones in the age of Internet and cellphones is flummoxing. Perhaps if the script had been sharper, and the editing and background score able to augment the drama, the audience might have rooted a little more for Harry and Aayat. Fortunately, most of the supporting cast is solid and Binod Pradhan’s cinematography lifts the movie by notches.

Tiresome: Both Shahid Kapoor and Sonam Kapoor struggle through the complex emotional scenes.

But nothing kills Mausam quite like the climax. As much as I might like to share it in graphic detail, let’s just say there is a crying baby, a burning fairground, a white steed and a lifeless limb!

Mausam released in theatres on Friday