Shahid Kapoor & Sonam Kapoor age well in ‘Mausam’

Sat, September 24, 2011 4:30pm IST by
Shahid Kapoor & Sonam Kapoor age well in ‘Mausam’

Unlike a lot of films spanning long periods of time, Pankaj Kapur’s characters in his first directorial feature go through a realistic physical transformation. How did Shahid Kapoor and Sonam Kapoor do it?

Often in Bollywood filmmakers effortlessly weave time lapses into their stories, but don’t give a thought to the physical growth of their protagonists. For instance, in Saat Khoon Maaf, Priyanka Chopra has the chutzpah to look old and wrinkled, but her character’s physical metamorphosis from 17 to 70 is inconsistent. Drastic changes in her appearance don’t occur till she turns 50. But Mausam’s writer and director Pankaj Kapur ensures that his stars Shahid Kapoor and Sonam Kapoor consistently evolve externally through the ten-year long romance. For the first part of the story, both actors easily pass off as the young 20-year-olds in love. And the facet that is often considered to be Shahid’s weak point – his boyish looks – lets the 30-year-old convincingly portray a collegian on screen. After the big leap of seven years Shahid’s character sports a moustache to disguise the very same boyish charm, whereas there is no obvious change in Sonam’s physicality. Of course, their costumes change with the setting. Fortunately, post that leap there are no long time gaps. Thus there isn’t any need to transform appearances. But there is a logic behind the way Sonam dresses. She begins with salwar kameezes, moves on to dresses when in Scotland and then, almost a decade later when she returns to India, she puts on sarees to embrace and project her character’s maturity. It’s the director’s eye for detail that gets lost in the flawed story!Subscribe to me on YouTube

  • Pradeep

    Very Very Nice Couple…………

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  • Haimanti Banerjee



    Frankly, it’s very curious to watch the industry-wallas, say like Mr. Komal Nahata of etc clone, going on and on and on like a stuck needle to prove the MAGNIFICENT “MAUSAM” as what have you ……

    And pray, why the hell are they going an extra mile to unleash their foul mouths?

    1] Because, the film is an example par excellence in bringing ‘mindful’ sanity, dignity and composure that this fabulous medium of cinema deserves so urgently? And that’s precisely what rubs the ready/bodyg./delhi/ dhoondi….rascals types on the wrong end?

    2] Because, THE LOVE SEQUENCES lack the adrinal bursting to seams where the female’s neck is wrung like a chicken flue birdy with male lips chewing off the female’s, and the free male hand freely slithering down and up a no-clothed flesh? Oh what odium! May be, not for those good-old “morning shows”!

    3] Because, despite taking the audiences round the world, MAUSAM desists from being an adverising Co. for tomato crushing/ squva or sky diving or simply selling the extreme male obscenity of getting pulped under ugly forien bulls? Yes, these sell, not Mozart or ballet, the zenith of a particular civilisation!!

    4] Because, MAUSAM doesn’t drown, say Aayat, with the unbearable heavy weight of a separated Radha like say Meena Kumari or Madhubala [ Mugha-e-Azam]? Here is a motherless child, thrown out of her birth place, then her oun motherland [ Anna Hazare'e BHARAT MATA],then across the cities/continents, Ayaat is jostled and shoved around…. And who expects Pankaj Kapoor to direct Sonam, a ballet dancer, a shopkeeper, the nurturer of a cousin’s child, to drown herself in liquour like good ol devdas or Chhoti bahu of Saheb Bibi….As a 20th /21st century modern girl, her head is correctly on her shoulder and she [to ones great relief!] doesn’t wear her heart out on her sleeve! It’s only the thespian Kapoor who cud have sculpted Ayaat like that. All kudos.

    [ from a hapless film lover who pines for MAUSAM, the MAGNIFICENT]

  • Mausam fan

    Mausam has a sublime grace and beauty that we do not see in Bollyland anymore….which is why a lot of people, critics included, are having difficulty appreciating it. Also, the performance and storytelling (for the most part) is very subtle and not overt…which is in keeping with the situation of the characters, especially Aayat. Would you overtly declare your feelings for someone if your life has been turned upside down and you are in a new town, and you are not sure of being accepted by the locals because of your religion? Would you jump a girl who disappeared overnight because of security issues, and who you see in a foreign land after seven years? Is it right to expect the same love from a person with whom your relationship has not solidified if you are now physically disabled? These are the reasons for the subtlety and uncertainty in the film….it has its weaknesses, but is worth one watch in the theater.