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पोलीस लाईन - एक पूर्ण सत्य Directed by: Raju Parsekar / Year: 2016

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The police are undoubtedly one of the most overworked public servants in the state. They do not have any fixed duty hours; they are underpaid; and the housing colonies in which they live are crumbling structures. Police Line (a term used for colonies that house police) directed by Raju Parsekar attempts throws some light on the issues faced by the constables of the police.
The film is about the state of Maharashtra police and depicts a number of problems faced by them. It makes it clear that for many years now this condition has not changed, and it is unlikely to improve in the near future. To put forth the argument, it imagines the residential quarters of the police force, and introduces us to a number of households in it. Typically, the man of the house is working in the police force. The house is owned by the government, so when he retires, a son will need to join the force to retain the house. This has formed a sort of twisted heredity, where many families remain tied up with the force, whether the younger generation wants it as a career or not. But this is just the beginning of their problems.
It would have been wiser if the film would have entirely concentrated on this family and addressed the other characters in passing. But the film wants all the characters to have prominence, each representing a separate issue. This brings us to the second problem.
Especially in the latter half, it almost feels like the filmmaker has come up with a list of problems the police households are facing and ticking them off, allotting them to individual characters. Financial troubles leading to corruption? Check. Younger generation falling prey to shady influence? Check. Insecurity about a permanent shelter for the family? Check. Odd and long hours presenting difficulties in married life? Check. Residences falling in disrepair? Check. The force blamed for things beyond their control? Check. And it goes on like this. A long list of issues and relatively insignificant time allotted to most, takes us away from the individual stories. If the list of issues of all that was necessary, maybe an appeal to the government would have been more effective.
There isn’t exactly a lead character here, but Bala played by Santosh Juvekar has been given the most screen time. He is the son of a retired police constable who is an upright gentleman, proud of the honesty with which he has performed his duty of a policeman. His married elder son, who has also joined the police, doesn’t believe in his father’s ideals and blames them for his family’s misery. Bala is a studious young man who plans to become a software engineer.There are a number of other such families living in the same housing colony that the film sheds light on, but not even a single one of their stories holds our attention. The filmmaking is very outdated and bland. The setting is based in the 90s for the most part and it also feels that the film too was made in the 90s. There are numerous cringe-worthy scenes that had me squirming in my seat. Another aspect that works completely against the film is the preachy tone. Right from the voice over in the beginning the preaching begins and doesn’t end till the end credits stop rolling. Some characters just go on and on about the miseries of a police constable.

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