Entertainment Desk:

“I do not want to stay on the ground; I aim to soar to the skies,” — this line from “Toofan” captures the essence of this film perfectly.

Superstar Shakib Khan, who has continually reinvented himself under the masterful direction of Raihan Rafi, has truly ascended to new heights with his performance in Toofan.

Just as his character declares, “all of Bangladesh is under Toofan’s rule,” Khan has indeed conquered the entire nation with his portrayal.

DON’T WORRY, NO SPOILERS!

Let’s not spoil the plot for those who haven’t seen “Toofan” yet. However, based on the teaser and trailer, the story revolves around Toofan, a gangster from Dhaka’s underworld in the 1990s.

In the teaser, someone mentions that the entire country will be handed over to Toofan, allowing him to do whatever he desires without any opposition. In the trailer, we see that Toofan indeed controls the country’s politics and economy, and his relentless violence and excessive dominance have made him a target for political leaders.

This is where Chanchal’s character comes in, tasked by the leaders to remove Toofan from their way. The suspense lies in discovering Toofan’s fate.

CRAFTING A CLASSIC

The plot of “Toofan” may seem quite ordinary within the context of Bangladeshi cinema, and it is not necessarily something groundbreaking.

However, Raihan Rafi has meticulously crafted this simple story with a series of surprises and created a spicy film reminiscent of the action-packed, musical extravaganzas that delighted audiences in the eighties and nineties.

Yet, Rafi remains true to his essence, infusing the film with a twist towards the end and leaving his creative mark at every turn.

He has been consistently adept at ensuring that each of his films stands apart. Both the content and presentation of his subsequent films have differed significantly from his previous works.

The same holds true for “Toofan,” which stands out distinctly from his earlier films.

Although Rafi is renowned for his films based on true stories, and he had announced that this film too is inspired by the life of a gangster, it is difficult to pinpoint who that might be. We will get into that shortly.

STELLAR CAST

In this film, Shakib Khan plays dual roles – Galib Bin Gani, aka Toofan, a mafia kingpin and top terrorist, and Shanto, a sweet boy who wants to be an actor. The cast also includes Mimi Chakraborty, Masuma Rahman Nabila, Chanchal Chowdhury, Misha Sawdagor, Fazlur Rahman Babu, Arifin, Shahiduzzaman Selim, Gazi Rakayet, Salahuddin Lavlu, and Gausul Alam Shaon, among others.

SHAKIB KHAN ONLY WAS HIS OWN COMPETITOR

Audiences who have followed Shakib Khan’s career from its early days cherish the youthful vigour he once brought to the silver screen.

During that period, Khan’s performances were marked by a naturality and dedication, especially in films like “Khuni Shikdar,” “Ajker Somaj,” “Amar Shopno Tumi,” “Shubha,” “City Terror,” “Bharate Khuni,” and “Badha.” This same dedicated and natural acting is prominently visible in “Toofan.”

Khan’s ability to switch from being straightforward to complex, from a psycho to a formidable character, has made his portrayal of Toofan a powerful performance.

His acting in the film is captivating, holding the audience’s attention throughout. This is the old-school Shakib Khan that discerning viewers long for.

His action sequences are impeccable, with his body language exuding intensity and his eyes seemingly aflame with passion.

CHANCHAL MUST NEED A GRAND RETURN, HERE’S WHY

The second main attraction of this film is undoubtedly Chanchal Chowdhury. His character, with its cool image, blends comedy and cold-blooded mind games, making it incredibly entertaining.

Chanchal’s performance adds a new dimension to the film. His portrayal during the climax, where tension mounts and mysteries unfold, is simply outstanding.

I did wish for more screen time and detailed character development for Chanchal Chowdhury.

However, his presence, no matter how brief, adds a unique magic to the film. His combination of intellect and comic relief is delightful.

In the final scene… I hope he makes a grand return in the sequel alongside Toofan.

SUPPORTING CAST ADDED MAGIC

Nabila brings a sweet charm to the screen. Her soft, tender character is portrayed with just the right touch, although her screen time and significance are relatively limited.

Her chemistry with Shakib Khan feels natural, demonstrating her ability to merge seamlessly with her role.

Mimi Chakraborty’s glamour, acting prowess, and the increasing importance of her character towards the climax are noteworthy.

Misha Sawdagor’s performance is impressive as well. Breaking away from his traditional villain roles, he delivers a natural and compelling villainous performance, proving that true talent shines under good direction.

GAZI RAKAYET’S CHARACTER WAS DISRESPECTED

Lastly, Gazi Rakayet deserves special mention. As the story’s communicator, his vocal nuances guide the film through its highs and lows.

However, his death scene felt rushed and unjustified. The abrupt conclusion of his character was disappointing, especially considering the depth and strength Gazi Rakayet brought to the role.

Although the character might have been written as weak, Rakayet’s portrayal elevated it to one of the film’s most compelling figures.

The way Rafi chose to end this character felt like a disservice to both the actor and the role he so masterfully embodied.

TECHNICAL BRILLIANCE

The background music (BGM) and title track of Toofan are melodious. At least twice, the perfect blend of intense moments and beautiful transitions stood out.

The director uses parallel editing effectively to highlight Toofan’s omnipresence. To develop Toofan’s backstory, there are some L-cuts integrated with Gazi Rakayet’s narration.

The colour grading is visually pleasing and consistent. There is a noticeable tendency to contrast the main focus from its surroundings. Some of the BGM moments are spine-chilling.

The use of BGM becomes even more remarkable from the point where Shakib Khan’s character takes a turn, becoming extraordinary in the second half. The long-shot hospital operation and the explosion sequence are the film’s best action moments, with Shakib Khan’s body language in the fight scene blazing with intensity.

VFX, action, item songs, dialogue everything screams high-budget

The use of VFX in the film is quite impressive and utilised exactly as needed.

The initial shootout scenes and the instances of violence have been executed with precision, leaving no room for shortcomings.

Rafi has ensured that every necessary detail is meticulously crafted.

The film’s high budget is evident in every aspect, and it shows. Some dialogues are bound to become iconic, echoing in people’s conversations for a long time. These dialogues are crafted with great care.

The item songs are contextually appropriate, neither seeming out of place nor vulgar. The songs are also melodious, adding to the overall appeal of the film.

FLAWS AND SHORTCOMINGS

However, it wouldn’t be fair to say that “Toofan” is without its flaws. While the film’s technical aspects, direction, and production are commendable, the primary issue lies with the character of Toofan.

Despite being portrayed as highly intelligent and cunning, Toofan spends much of the film merely engaging in shootouts and arson. It’s quite implausible that there are no police records of him, especially in a country where even minor criminals get caught and some escape to plan high-profile assassinations from abroad.

This aspect felt somewhat unbelievable to me. The first half of the movie seemed rather boring, although the pace picks up right after the interval, revealing that the slow pace was necessary. The second half, which can be described as the power play, justifies the earlier tempo.

LACK OF AUTHENTIC BANGLADESHI CONTEXT

Most importantly, despite claims that “Toofan” is set in a Bangladeshi context, this is not convincingly portrayed. The film lacks iconic locations, has little resemblance to any real-life gangsters apart from the murder of Sohan Chowdhury, and the accents and art design appear confined within a box due to the inclusion of Kolkata actors.

“Toofan” is not “KGF” or “Animal,” but the heavy inspiration from these films is noticeable. The movie borrows elements from many films, making it hard to believe that it is based on a true Bangladeshi gangster.

MIXED CASTING AND SET DESIGN

Even though Rafi wraps up the last few minutes with his signature female betrayal and a sequel cliffhanger, it doesn’t quite satisfy.

Rafi’s films are known for great casting, providing actors with substantial roles. However, in this case, it feels like Misha, Shahiduzzaman Selim, Salahuddin Lavlu, and Suman Anwar were included just to make the cast heavier.

Adnan Adib and Gausul Alam Shaon’s performances were rather boring, and their attempt at humour didn’t work. The set design, especially the depiction of Shanto’s area, and the people seemed artificial, reminiscent of Kolkata.

INSPIRED YET ORIGINAL

Now, putting aside the negative aspects, let’s respond to some of the criticisms. While some may argue that the film is filled with imitations, I believe Rafi drew inspiration from various movies and crafted it in his unique way, which is where he truly excelled as a director.

He paid homage to several films through “Toofan,” evident in scenes like Shanto’s first fight sequence, reminiscent of the set from “Munna Bhai MBBS,” and the initial song featuring the innocent Shanto, reflecting Shah Rukh Khan’s character in “Dunki,” even the whole first couple of shots of Shanto reminded me of Shah Rukh Khan’s iconic film “Om Shanti Om.” Rafi has woven elements from Ajay Devgn’s “Once Upon a Time in Mumbaai” and the theme from Shah Rukh Khan’s “Don 2” into his narrative.

META-CINEMA THEME

Perhaps the most intriguing aspect is the meta-cinema theme, where a film about “Toofan” is being made within the movie Toofan. This is possibly the first Bangladeshi film to use such a theme.

Shakib Khan playing an actor in his own film, who dreams of becoming an actor, is another brilliant meta-cinema idea in my opinion. Some of Shanto’s struggles and incidents felt like they were drawn from Shakib’s own life… but then again, I could be mistaken. Who knows?

RAFI’S GENUINE DIRECTORIAL CHARACTER

Despite the seemingly simple story set in Bangladesh, Rafi crafts a suitable narrative for the masses, addressing various societal issues and reflecting the true picture of village politics and recent political history through entertainment.

This is a testament to Rafi’s genuine directorial character; he often brings up true incidents because he wants to portray the real picture of society through his films.

In “Toofan,” he successfully achieves this while maintaining the masala elements that appeal to a wide audience.

The film walks through village politics, where we witness local party feuds leading to murders and retaliations. We see a criminal being groomed from childhood, handed weapons by corrupt leaders who bribe the police, and eventually becoming a menace to his own mentor.

Simultaneously, the film portrays how mafia gangs influence national politics, forming governments under their protection. All these elements reflect the real-life scenarios of society, marking Rafi’s success in capturing the essence of reality.

REVIVING ORIGINALITY

Not only that, but Rafi has also challenged the decline in the country’s film industry that began after the 1990s due to plagiarising stories from other films.

Instead of merely mimicking successful movies, Rafi takes inspiration from them and infuses his own creativity and vision, crafting films that stand out as unique pieces of art.

By doing so, he has revived an era where originality and creativity were paramount. This approach not only honours the spirit of the original films but also adds a fresh perspective that is distinctly Rafi’s. He took on this challenge and succeeded.

At the end, “Toofan” overall is an entertaining film. Audiences are likely to enjoy it because it delivers pure entertainment, which is what most viewers seek.

Toofan-2 is on the horizon… stay tuned!