Mausam

Gulzar's Mausam tells the story of Dr. Amarnath Gill, who returns to Darjeeling after many years and after a while decides to look for his past love there. Just like Aandhi, Mausam is about a missed opportunity, only that here the separation is inevitable as in Aandhi the pair separated for good and only later realised what they had missed out on, and here, it was unintentional. Mausam is excellent in writing, direction, cinematography and acting. It's authentic to the core, it's beautifully shot, it's emotional and melancholic, and it just presents a moving episode of mainly three characters, while it is mainly seen through the eyes of Amarnath. Wavering between the present and the past through flashbacks, memories and confessions, the story is narrated exceedingly well. Gulzar gives the script a touch of tension and suspense, and several proceedings are completely unexpected and surprising.

Gulzar shows his characters going through many trials and tribulations, and yet he never tries to victimise them or dramatise their stories when he presents the motives behind their current state. The movie in large portions works as a character drama, and is a very poetic, intense and atmospheric piece. Moreover, while the casting of one actor in two different roles has often not been justified in Hindi films, in Mausam it is very symbolic actually, showing what a cruel and ironic game destiny has played with Amarnath by taking away his love and making him meet her lookalike daughter who is a completely different person, namely a prostitute. I was very impressed by this part of the film, particularly by the portrayal of the brothel which looks most lifelike and real. You will see none of the mess or the caricature girls one is used to seeing in Hindi movies dealing with prostitution.

There can be no doubt about Sanjeev Kumar's extraordinary acting talent and following Aandhi, in which he played a similar part, here too he plays his character's regret and pain with depth and ease. Sharmila Tagore got her best roles in Satyajit Ray films, and Mausam may be one of the best parts she received in Hindi cinema. She is astonishing in both roles although it's the role of Kajri, the daughter which lets her do a full emotional cycle. Not for a single moment in the film did she overdo her part, not the cute young girl, not the foul-mouthed prostitute, not the woman who lost her mental sanity. The transformation of Kajli looks very natural and due credit goes to her. She exudes a warmth and her emotional scenes towards the end, particularly the final scene of her realisation, are amazingly forceful. Among the supporting actors, Dina Pathak and Om Sivpuri play their parts excellently.

The film was released after the death of its music director Madan Mohan. I liked his compositions very much and "Dil Dhoonta Hai" is my favourite. The film's ending is very touching, and it provides a great moment of relief and optimism. Mausam is another example of Gulzar's craftsmanship and of his unique storytelling. Just go and watch it.

Gulzar is an artiste in the truest sense. I'm not saying this merely because he's credited as lyricist, writer and director but because of the way he combines poetry and visual art. 'Mausam' is like a beautiful poem and a fascinating painting. It is a part of Gulzar's Lost Love trilogy (the other two being the equally spellbinding 'Ijaazat' and 'Aandhi').

The film starts with Dr. Gill (Sanjeev Kumar) arriving at Darjeeling on holiday to get a break from work. Work seems to follow him. Yet, he tries his best to get away without being impolite to his fellow doctors. There is another motive for his coming to Darjeeling. Perhaps it is more on a subconscious level that have been uncovered upon his arrival. The town gives rise to lost memories, memories of a lost love (Sharmila Tagore). A love he had promised to return to but he failed to keep his word. As Dr. Gill is showered with memories, he embarks on a desperate search for his love but as he discovers the truth his regret exacerbates and his despair to find her heightens.

The cinematography is wonderful. I especially liked how the songs were visualized, the highlight song being 'Dil Dhoondta Hai' that juxtaposes a desperate aged Dr. Gill with his memory of his young self with Chanda. Two other songs are beautifully visualized depicting the relationship between Shankar and Kajri. Needless to say, each songs are eloquently written. The beauty of Darjeeling is well demonstrated. Gulzar's depiction of the prostitutes and brothel is very realistic, especially compared to most movies of its time.

There's no doubt that Sanjeev Kumar was one of the best actors (if not THE best) of his time and he delivers yet another terrific performance. Sharmila Tagore is remarkable in one of her most challenging roles. Even the minor characters are excellently acted by actors like Dina Pathak and Om Shivpuri.

'Mausam' is both a mesmerizing poem and a captivating oil on canvas. It is a timeless piece that I am sure to revisit.

Sanjeev Kumar has been my favorite actor. His Characters in Andhi and Sholay were impressive or, in other words, he made them unique. But, in my opinion, Mousam is his best movie in respect of characterization. Mousam is a story of a medical student who comes across his memories after spending much part of his life. These memories contain pain and pang of lost love and emotion of repentance. When Gill realizes that he has committed a mistake by not caring for a girl who builds a sweet home of love in her dreams, he tries to compensate for her by finding her daughter but a lot of water has gone under the bridge now. The film has simple plot but the real charm is the sad environment of the movie and also its music. It is the film which bases on emotions and passions. If you are not a man with sensitivity of emotion, it is not for you. Such emotional environment can be felt in Masoom also. Masoom is also a fine movie worthy of watching and remembering.

Enough said. A successful surgeon visiting his past and never realizing the havoc that was caused in the multiple lives (that he genuinely cared for) due to something that he neglected to do. There was a reason of course, but a superficial one which he recognizes too late. The plot revolves around the life and heartbreaking fate of Chanda and her daughter Kajali due to his self-absorption. In the first half Sanjeev presents a master-class of immense acting...you cry when he cries ( he cries only once) but you also cry when he is hit with a proverbial emotional brick. He totally reveals the complex emotional whiplash that he suffers as the details on Chanda and later Kajali' lives are revealed. The last quarter belongs to Sharmeela in the daugher's role. What she does when she finds out the real identity of Sanjeev ....is extremely impactful and masterfully emoted. That scene makes the movie come together in ways that otherwise would not be possible.

There are some minor flaws that do not impact the plot....not much is revealed about Sanjeev's current life. Also the peripheral characters in Sanjeev's life are given only a weak presentation although the women in Sharmeela's life are given the needed depth. But they do not distract from the powerful emotionality of the movie....

This movie was made more than 40 years ago. It is interesting to think if Bollywood is capable of making this movie again?? possible but perhaps unlikely--and it is not because talents like Sanjeev Kumar may not be available (which may indeed be true)-but primarily that Bollywood "mores" on handling the love stories have changed...watch the movie closely ---and watch what Kajali's only love Kundan does when he loses her. It is a powerful scene in its own right. Would you blame Kundan? How will Gulzar rewrite Chanda's character if he were to write this story today??? same or different?

See it and be amazed.

Review By Kamal K

Gulzar has always tried to explore different and complex human relationships in his films. Mausam, too explores a complex relation between two people. Masterly crafted, this movie is a milestone in the careers of Sanjeev Kumar and Sharmila Tagore.

A very well directed film...and Sharmila and Sanjeev Kumar...it is impossible to call one as overtaking the other in talent...both do an INCREDIBLE job and one forgets and has to remind the self that Sharmila really isn't Kajli---of the two characters she played---Chanda/Kajli--- Kajli is definitely the harder of the two characters to play and no one could have done it better. She has lived that character...one feels her every emotion. The supporting cast of Omshiv Puri, Dina Pathak, Agha did their job well.

The other highlight were the dialogues of the film. Even the small nok-jhok between Amarnath and Chanda are interesting. For instance Chanda keeps asking the meaning of difficult english words which Amarnath uses during his normal conversation. Then there is the scene when Sanjeev is scratching his ears and Chanda stops him saying 'kaan mat khujao, zeharband ho jayenga'. This same dialogue is repeated by Kajli again while she is travelling with Amarnath. These light scenes also remain with you long after the film is over. The scene when Amarnath arrives to the meet Kajli at her brothel and she perceives him as a customer is also well-enacted by both actors and well directed.

It is touching and it lingers in your heart. Films like Mausam, however, comes only once in many seasons.