Mausam

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.

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.

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.

I managed to catch two gems recently. The first one was over 3 days while I worked out. Maybe the installment approach allowed me to ponder on this film and love it all over again. In Mausam, Sanjeev Kumar rocked as the young doctor-in-training, and then as the older man who comes back to Darjeeling to relive his memories. Gulzar kept many things shrouded in mystery and so many things completely understated - I was so glad he chose to not insult the viewers' intelligence with needless explanations along the way. We never found out if Sanjeev came back to Darjeeling for any other motive than R and R. We were never told if the young Sharmila actually "fell" for this older man or it was pure gratitude, since she knew who he was all along! The flashbacks were kept to a minimum and even the minor characters like Om Shivpuri, Dina Pathak and Agha were so perfect in their roles. Sanjeev was pitch perfect, playing men that were 20 years apart in age, just by subtle changes in body language and some gray hair! And in a surprising twist all the intensity, regrets and anger were portrayed by the older man. Sharmila was excellent in the mother daughter roles, although clearly outclassed by Sanjeev. And the divine music - Dil Dhoondhta Hai Phir Wohi Fursat Ke Raat Din. A perfect 10 from me for this perfect film.

The movie is overshadowed by its music. When you listen to Gulzar's songs, it creates an image, which is unique from every other. For this movie he has aptly chosen a Galzal of Galib "Dil dhundhta hai phir ohi phursath ke raat din". This single song steels the show. It creates an atmosphere where a lonely person is looking for his lost soul in the valley of himalay. The films main character could have been justified by none other than Sanjeev Kumar. And a brilliant music by Madan mohan, all add to the charm.

Only people who can understand the subtilities of Hindi lyrics can truly enjoy this movie.