nkumar-33378 The music of the film is composed by Pritam while the lyrics are penned by Irshad Kamil. There are two other songs which was seen itself in the movie but it was not released. One of them is sung by Sonu Nigam and Shreya Ghoshal and is a romantic track by Pritam Zara Si Mehdi,the other is sung by Shreya Ghoshal, a romantic track & quot;Abhi Na Jao Chhod Kar & quot adapted from an old Hindi film. Harry paralyses his left arm during a special mission in the Tiger Hill. They both want to speak to each other but fate always brings them closer and then separates them again.i think end is average .All over i felt more interesting things can be added.

nk-09478 The movie Mausam is a romantic story of love.The main scene of starting part was too good and what a imaginary sets regarding to the subject and also the locations was too good.But mid part of the movie is not fit according to the story.At the end, in Ahmedabad during post-Godhra riots, they finally find each other and decide to settle down with an orphan child rescued by Harry from the riot which also results in his arm cured, with a child of their own on the way. If a talk about the music of the movie ,then i want to tell it's touching.theme music also very well. Selection of instruments are too good.Voices of singers was excellent. finally i rated 5.

Vikas SS The promos of 'Mausam' seemed reasonably promising. It had been a long time since there was a film that had a simple-sweet romantic theme as it core sans metropolitan complexities. They had ruled the box office in the 90's, and were a rare breed now. And this one failed to break the trend and this 'Mausam' ran into bad weather. Replete with every cinematic cliché around, the film is actually a thesis on Bollywood clichés. The film begins in the early 1990's in a Punjabi village with the usual clichés of mustard fields and the mandatory celebratory song and dance numbers. It is here that our local boy Harry (Shahid Kapoor) meets Aayat (Sonam Kapoor) who has just arrived from Kashmir seeking refuge with a relative there. Soon, love blossoms with not many words being exchanged but by passing love notes; old school romance, you see! Within days, Harry expresses his love for her. Just when you wonder about what's going to happen next, Aayat disappears from the village without a trace and without answering his question. Cut to 7 years later in Scotland by when Harry is an Air Force Pilot and Aayat is an aspiring Ballerina and the latter's family has been affected in 1992 Babri demolition and 1993 Mumbai riots. The couple rekindles their love. Now that the two are together, you at least hope for an interval, but the audience has no luck yet. There's more! This time Harry disappears from the scene for the 1999 Kargil war and becomes disabled. The two lose contact yet again. The tragedies don't just end there. There's the 2011 WTC attack and the 2002 Gujrat riots too. Strangely, Aayat has the uncanny ability to find herself in every conflict around the globe. As they meet and go apart umpteen times, strangely, they are unable to reach one another although they have the telephone numbers of those they know in common. The film can use the alibi that the story predates Facebook or Orkut. And during the process, the film feels to go on forever, or will it end at all? Granted, there are some songs that help it, but the pain of sitting through this film is simply traumatic. The clichés just don't end there. For a happy ending, the hero has to single-handedly fight hordes of villains and save the damsel in distress. And when he is done with it, he saves a child stuck on a ferris-wheel and regains his disabled hand! And lo, there is a white horse on the scene that also needs to be saved. In the end, the two are united and start a family with the ferris-wheel kid and the horse tags along too.Although set in the 90s, it may have worked better in the Black and White era. Probably Shahid's father Pankaj Kapur's wet dream to make a romance flick since his childhood but could manage the money only now. Obviously, the clichés in this film don't work anymore now. I'm not saying that clichés don't work; only the formula has changed. Those that work are more of the likes of 'Ready' or a 'Singham'. Keep Out!

saad_khi Shahid's dad your film is super bad. It's bad to the extent your wife (Supriya) walks in and out with a weary expression like she told you how bad the script was but you didn't listen to her. The film is all imagery and places which you happen to like and then tried to develop a story around them. Unnecessary scenes and situations: the hero's paralyzed hand. The heroine with cousin and child stopped in Switzerland. And why the heck did Sonam stand on a heap of snow (pseudo artistic or what?) with the baggage instead on a platform? Referring to a cousin's parents one mentions the closest relationship like maasi's son and not her husband's like Sonam tells Harry that Akram is my khaalu's (khaala's hubby) son. Shahid did a better job in Jab we met n Kaminay. And the way he tells the British about their air force plane (nice bird. It flies well) like the sub-continentals taught them to fly. Director dad u did a film (Dharm) in which you were a Pandit priest who adopts a Muslim child so why did you shy from saying out loud that the heroine is Muslim and the hero Sikh (instead of referring to him as a Punjabi)? Muslims, Hindus and Christians are Punjabis too. The date line supers get on one's nerves and makes one wonder why didn't the heroine exchange email addresses in 99? Or the hero didn't even have 2 minutes to call her when he was send for Kargil whereas he yearned for her and missed her earlier? Mr. PK gets stuck in 99 that soon after showing 9/eleven the next dateline is 99 again. There was Gulzar's Mausam with evergreen music and a simple but interesting storyline which did well without any hype, and here is another Mausam (PK couldn't you think of an original title for your first directorial effort?) which I just can't fathom how the producers poured money into. Lots of extra bucks I guess. Less said about the ferris wheel drama at the end: totally atrocious. And Sonam by praising PK as an excellent director you have placed him next to the one who directed Aisha