As the society evolves rapidly, the city affects and displaces every person who in no way fit its schemata of things. The globalization of its ways on a planetary scale uproots and upturns everything, from traditions, culture and the remotest of the people.
In ‘Shaher’ we have four characters who represent this fast disappearing landscape and the fifth which is Langda does not have a name. Langda means somebody who is on crutches, which means that he himself cannot stand straight without external help. As the spirit of the city, he personifies its deadly and seductive powers.
All the characters are rooted in their traditions and the disappearance of these traditions also means the disappearance of their world. The temple wall with its 4 by 4 space is what is left. They own it in the sense that this space has hailed them, has gathered them and their gathering and owning up of the place as their own gives the place its meaning and character and now even the small confined space is practically owned by the temple committee which they had helped form. Release from this confinement arrives in the body of Langda, a crippled beggar who offers them release and exit.
It is not just to feel but to experience what it means to be constrained and confined, the camera remains locked to their 4 by 4 space. The feeling of dislocation and loss permeates the film.
The loss of being dispossessed; To own a 4 by 4 land and to be Bansi, Durga, Ojha, Vishnu and to loose everything. This is what the film is all about.