Marking two decades since its release, Sehar remains a compelling exploration of the complexities of law enforcement. Directed by Kabeer Kaushik, the film offers a nuanced portrayal of the police force, moving beyond the stereotypical representations often seen in cinema. The narrative centers on Ajay Kumar (Arshad Warsi), a dedicated officer fighting against powerful criminal elements in Uttar Pradesh.
The film’s distinctive style, emphasizing realism and a documentary-like approach, makes it a unique entry in Hindi cinema. The characters, though familiar in their archetypes, resonate with the audience. The presence of gun-wielding criminals mirrors those seen in films by Govind Nihalani and Ram Gopal Varma.
What sustains the conflict between good and evil is Kaushik’s committed direction.
The narrative is set in the early 1990s, a period where political figures and criminals often worked together. This setting serves to explore the moral gray areas of the era. Though this theme is not entirely new to cinema, it provides context for the film’s exploration of moral decay.
Unfortunately, the characters are not uniquely designed.
Kaushik portrays characters struggling with their present. The director skillfully creates tension, but does not always fully explore it. The film portrays the experiences of the Special Task Force (STF) with sharp efficiency, revealing the constant presence of corruption. This approach underpins the film’s socio-political message.
Despite its sincerity, Sehar is sometimes let down by a lack of depth. For example, the kidnapping of a young boy is resolved too quickly.
The film’s fast pace does not serve to adequately explore the issue of corruption. Sehar could have gone further in its critique. Instead, Kaushik shifts focus when challenges arise, perhaps unable to fully explore the issues.
A supporting character’s complaint reflects an issue with the film, which is the complexity of the cell phone. The politics of Sehar is understandable, but fails to fully engage the viewer.
It lacks the moral depth of Hazaron Khwahishen Aisi. Sehar is striving towards a new era, which leads to a hurried narrative.
The film’s sincerity never wavers, and the performances echo the director’s edgy style. Pankaj Kapoor gives a strong performance. Sushant Singh’s performance is somewhat flat.
Mahima’s role lacks significance.
Arshad Warsi’s portrayal as a cop is noteworthy, playing a character grappling with difficult circumstances. His performance is more nuanced than Manoj Bajpayee in Shool.
The film occasionally lacks momentum until the climax.
Sehar attempts to usher in a new era. The film doesn’t completely succeed, but it is a commendable effort.
