Sehar is a film that explores the themes of unlikely heroes. The film offers a commendable portrayal of the police force, often depicted in a negative light, through the story of Ajay Kumar (Arshad Warsi), a principled policeman. Directed by Kabeer Kaushik, the film is a biographical account of Kumar’s fight against the powerful, extra-constitutional forces in Uttar Pradesh.
The film’s atmosphere and its direct storytelling approach make it a unique example of documented drama in Hindi cinema. The characters, including gun-wielding criminals, are familiar archetypes, reminiscent of those seen in the films of Govind Nihalani and Ram Gopal Varma.
What makes the battle between good and evil in Sehar engaging is Kaushik’s dedication to telling the story effectively.
Kaushik sets the story in the early 1990s, focusing on the elimination of a political mafia. This setting allows for an exploration of the moral issues that arose during the last decade of the 20th century, when politicians and criminals often collaborated. While this theme isn’t new to cinema, Sehar loses some of its impact because of it.
None of the characters stand out as being particularly original.
Kaushik’s characters are haunted by their present. The director creates tensions that aren’t always fully resolved. The film portrays the Special Task Force (STF) with ruthless brevity, showing how corruption persists despite various challenges. This is the film’s approach to conveying its socio-political message.
Besides a sense of familiarity, the absence of a sharp edge in the episodes diminishes the film’s impact. For instance, a young boy is kidnapped, only to be rescued a few scenes later, and the narrative quickly moves on.
A format and a restless rhythm, which are reminiscent of the ad world, are not a sufficient solution for the issues of corruption that social consciousness cinema seeks to address. Sehar could have explored the topic of corruption more deeply. Instead, Kaushik often shifts focus when facing difficulties. Perhaps he couldn’t fully explore the issues.
A supporting character’s complaint about the complexities of cell phones underscores the film’s issues. The politics of Sehar isn’t hard to understand for the average viewer, but it does not engage the audience enough to hold their attention.
The film lacks the moral force of Sudhir Mishra’s Hazaron Khwahishen Aisi. Sehar is in search of a new beginning but rushes to get there. The journey is interesting, but the lack of focus on the fight against the political mafia creates a scattered narrative.
The sincerity of the film is maintained throughout, and the performances reflect the director’s unsentimental approach. Pankaj Kapoor delivers a captivating performance. Sushant Singh’s portrayal is somewhat stoic, and some supporting characters are more well-developed.
Mahima has limited screen time.
Arshad Warsi’s portrayal as a cop, dealing with a situation beyond his control, is compelling. Warsi, unlike Manoj Bajpayee’s portrayal of a corrupt cop in Shool, plays it cool.
The film becomes cold at times due to the lack of forward momentum, until the climax on the train where the cop and the don finally confront each other.
It is meant to be the dawn of a new era. Sehar does not quite reach that point, but it’s a commendable attempt.
