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We’d heard that some fathers loath their young sons.

Maybe, the fathers see their grownup, priapically obsessed youthful-looking sons as a rival for their wives’ affections.

But the wise souls at SI never believed in such Freudian drivel and Oedipal fiction. At least, not until we were confronted with hard, rock-solid evidence today in Pankaj Kapur’s directorial debut Mausam featuring his son Shahid Kapur.

For two hours and 45-minutes, we witnessed first hand the depth of hatred, the deadly venom oozing out of every pore of Pankaj Kapur’s body, aimed at his handsome son Shahid Kapur (by Pankaj’s first wife Neelima Azeem).

Folks, Pankaj Kapur’s is no run-of-the-mill Kutta, Kaminey kind of hatred.

Au contraire, this is one of those dreadful Maderchod, aaj tera gaand zaroor maroonga kinda, deep-rooted animus.

And guess what, true to his Mephistophelean game plan Pankaj Kapur acted the saboteur and buggered son Shahid well and truly in Mausam.

Beta Shahid won’t be able to walk normally for the next six months.

Boring Shit

To all those including yours truly who expected a beautiful piece of art from the talented Indian actor Pankaj Kapur in Mausam, all we can say is that the old man expelled one excruciatingly long, malodorous fart on Bollywood fans today.

Try as we may, we’re unable to find any exculpatory evidence.

You see, Pankaj Kapur is no babe in the woods. The old man’s been kicking around Bollywood films and Indian TV serials for nearly three decades.

Yet, the ‘movie’ he unleashed today shows that Pankaj Kapur has learned little of how things work behind the camera. Strange.

A hopelessly shoddy script, pedestrian photography (except in a stray scene or two), ordinary music, wildly implausible circumstances and a ridiculously happy ending dooms Mausam and tosses it on the mountainous dumpster of Bollywood.

Worse, Pankaj Kapur’s willful sabotage makes a mockery of the fine effort the acting crew put in.

Pankaj’s son Shahid Kapur, Sonam Kapoor and wife Supriya Pathak throw in respectable performances as do the others including Manoj Pahwa and Aditi Sharma.

Shahid Kapoor, along with Ranbir Kapoor, is the only hope for Bollywood to salvage its reputation with the Gen-Y crowd.

And we had no complaints against Shahid in Mausam. Whether as the young lad in Mallukot, the grownup Air Force officer or the pining lover, he delivers the acting goods.

Sonam Kapoor is getting better and in a Bollywood filled with two-bit *****  like Priyanka Chopra, Kareena Kapoor and Aishwarya Rai, it warms the cockle of this ol’ heart to finally see an actress with a good bit of class and lotsa grace.

To these fading eyes at least, Sonam Kapoor is a sunshine of delight in a Bollywood filled with varmint. Now, if only the girlie had a better bust, or at least one perceptible to the naked eye. ;)
Continue reading »

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Let’s start with a confession – We like both Pankaj Kapur and his son Shahid Kapur.

In a Bollywood littered with jackasses like the Khans and Bachchans, these two stand out.

So, it’s with great distress we pore over the poor reviews for Pankaj Kapur’s directorial debut Mausam featuring his son and Sonam Kapoor.

Here are excerpts from some reviews of Mausam:

Reuters:

If director Pankaj Kapur hadn’t gone to pains to establish that “Mausam” plays out between the mid-90s and the early years of this century, you’d be forgiven for thinking this film takes place in the 20s — when there was no internet, no phones and no technology. Why else would two, reasonably well-off, intelligent people who obviously have access to technology be unable to trace each other? It makes no sense, and instead of feeling sad for them, you feel frustrated.

That, in a nutshell, is how you feel about “Mausam” anyway. The promos describe the film as an “epic” love story, but the only thing epic here is the running time. The film runs for almost three hours, during which Kapur plays out the same meet-separate-meet-separate theme till you tire of it.

Rediff:

It is when the film changes gear from romcom to melodrama that both Kapur and his son struggle, going from light and likable to irritating and implausible. The couple that initially wins us over gradually emerges harebrained and inexplicably passive. We never root for either girl or boy, because they coyly retreat just when they shouldn’t. The passion the film began quickly turns lukewarm, because as Mausam and Shahid begin to take themselves seriously, we stop having fun. And, more importantly, giving a damn.

This is a love story gone awry purely because of undercommunication, and while that seems fine enough on paper, it’s rather hard to swallow two lovers cleaved for well over a decade simply because they don’t have each other’s forwarding address. Continue reading »

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