The film Sehar, which celebrates its 20th anniversary, stands out for its examination of the police force and its battles against crime. Kabeer Kaushik’s directorial debut is a biographical account that highlights the struggles of Ajay Kumar (Arshad Warsi), a police officer fighting against those who abuse their power in Uttar Pradesh. The film’s focus on law enforcement makes it unique.
The movie’s atmosphere and its focus on realistic storytelling make it a rare example of a documentary-style drama in Hindi cinema. The characters reflect the usual types, similar to those found in the works of Govind Nihalani and Ram Gopal Varma, but are effective in their portrayal.
What makes the battle between good and evil in Sehar compelling is the director’s determination to convey his story in a clear and impactful way.
Kaushik sets the story in the early 1990s, which allows the film to examine an era where politicians and criminals often collaborated. This topic, though not new in cinema, is a foundation for the film’s moral exploration.
However, the film does not offer original character development.
Kaushik’s characters are haunted by their present situations. The director builds tension, but the moments are not always developed. The Special Task Force’s (STF) experiences are depicted quickly, and the film illustrates the constant presence of corruption. This reveals the socio-political message.
Despite its sincerity, the lack of depth in the episodes undermines Sehar. For example, a child’s kidnapping is resolved quickly.
The film’s swift pace, borrowed from advertising, isn’t a strong solution for addressing corruption. Sehar could have delved further into the corruption theme. Instead, Kaushik shifts focus when challenges arise.
A character’s comment on the complexities of cell phones highlights the film’s issues. The political themes of Sehar are easy to understand for the average viewer, but the film doesn’t fully engage the audience.
The film lacks the moral depth of Sudhir Mishra’s Hazaron Khwahishen Aisi. Sehar is in a hurry to reach a new dawn, and this haste creates a scattered narrative.
The sincerity is maintained, and the performances reflect the director’s style. Pankaj Kapoor’s performance stands out, while Sushant Singh’s portrayal is limited.
Mahima’s role is small.
Arshad Warsi’s performance as the cop is gripping. Warsi’s work is more subtle than Manoj Bajpayee in Shool.
The film can feel static until the train-based climax where the cop and the don meet face-to-face.
It is intended to be the start of a new era. Sehar doesn’t fully succeed, but it is an effort.