Sehar, a film focusing on the police force and its battle against criminal elements, is a noteworthy work. Director Kabeer Kaushik presents a story about a dedicated police officer, Ajay Kumar (Arshad Warsi), challenging those who abuse their power in Uttar Pradesh. The film, as a biographical depiction, stands out for its portrayal of law enforcement.
With its stark atmosphere and emphasis on realistic storytelling, Sehar is a rare example of a documentary-style drama in Hindi cinema. The characters reflect familiar archetypes, similar to those found in the works of Govind Nihalani and Ram Gopal Varma, but are still effective in their portrayal.
What keeps the classic conflict of good versus evil in Sehar compelling is the director’s determination to convey his story as effectively as possible.
Kaushik sets the narrative in the early 1990s, which allows him to explore the dynamics of a time when politicians and criminals often collaborated. This theme, though not new to cinema, is a backdrop for the film’s exploration of morality.
However, the film suffers from a lack of original character development.
Kaushik’s characters are defined by their current circumstances. The director builds tension, but these moments are not always fully explored. The Special Task Force’s (STF) experiences are depicted with a sense of speed, and the film illustrates the continual presence of corruption. This approach showcases the socio-political message.
Despite sincerity, a lack of depth in the episodes undermines Sehar. For example, the kidnapping of a boy by a mafia boss is swiftly resolved.
The film, with its pace, which feels borrowed from the advertising industry, isn’t a strong solution for addressing corruption. Sehar could have delved further into the corruption theme. Instead, Kaushik redirects his focus when challenges arise. Perhaps the weight of the issues was too much.
A character’s comment on the complexities of cell phones points to the issues within the film. The political themes of Sehar are accessible to 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 quick pace creates a distracted narrative.
The sincerity is maintained throughout the film, and the performances reflect the director’s unsentimental approach. Pankaj Kapoor’s performance stands out, while Sushant Singh’s portrayal feels somewhat restrained.
Mahima’s role is limited.
Arshad Warsi’s performance as the cop holds the audience’s attention. Warsi’s performance is far more subtle than that of Manoj Bajpayee in Shool.
The film sometimes feels stagnant, until the train-based climax where the cop and don meet face-to-face.
It’s intended to be a new beginning. Sehar is a well-intentioned work that aimed to be transformative.