Raihan Rafi’s Toofan is a visual feast
By Anika Chowdhury
The 90s in Dhaka was a time of transition, rife with political turbulence and social change, a perfect backdrop for Raihan Rafi’s latest action-packed drama, Toofan (2024). Starring the unrelenting Shakib Khan in a double role, the movie features not one but two protagonists –because I assume, one Shakib Khan isn’t enough for our viewing pleasure.
As Toofan, Khan is the don everyone fears, while as Shanto, he’s a humble junior artist, who just wants to be a film star. What could possibly go wrong?
Toofan kicks off with a gritty portrayal of Dhaka’s underworld, ruled by none other than Toofan, played by Shakib Khan. Toofan’s got the whole “I own this city” vibe down pat, intimidating everyone who crosses his path.
But wait, there’s more! Enter Shanto, Toofan’s doppelgänger, who’s living a quiet life dreaming of stardom. Shanto’s peaceful existence gets a jolt when he is roped into a dangerous game of deceit and impersonation, hired to pose as Toofan to outwit Assistant Commissioner (AC) Akram, played by Chanchal Chowdhury, and other enemies.
The film brings together a stellar cast, including Mimi Chakraborty as the spirited Suchona, and Masuma Rahman Nabila as the endearing Julie. Supported by a rich ensemble of seasoned actors like Gazi Rakayet, Misha Sawdagor, Fazlur Rahman Babu, Salahuddin Lavlu, and Shahiduzzaman Selim, Toofan delivers a cinematic experience that I must say is visually appealing.
Shakib Khan’s portrayal of both Toofan and Shanto is a tour de force of versatility. As Toofan, he channels every bit of the stereotypical brooding don, while Shanto is the embodiment of innocence and naivety. Khan’s ability to juggle these two wildly different personas keeps the audience hooked. It’s almost like watching a magic trick – just when you think you’ve got one character figured out, the other one pops up to surprise you.
Chanchal Chowdhury’s AC Akram is the film’s supposed antagonist, though he shows up fashionably late – appearing after one and a half hours. When he does finally grace us with his presence, Chowdhury’s intensity breathes new life into the plot. His character adds much-needed tension and complexity, even if his screen time is frustratingly limited to 9 or 10 scenes.
When it comes to other female leads – Mimi Chakraborty and Masuma Rahman Nabila – it felt like they were added to the film only to increase the glamor and they do so, rightfully! Without contributing much to the plot.
Visually, the film is stunning. However, the plot suffers from a lack of significant conflict. Toofan gets everything he wants without facing any real hurdles, making his journey feel flat and unearned. There’s also an undeniable sense of déjà vu, with portions of the plot and some scenes feeling like they’ve been borrowed from Indian films like Don (2006), Animal (2023), or KGF.
And let’s not forget the underdeveloped backstory of the protagonist Toofan, which leaves a lot to be desired.
In the film, the socio-political landscape of Dhaka had the potential to be a standalone character, authentic and immersive. Instead, the attempt to masquerade Kolkata as 90s Dhaka is about as convincing as kids playing dress-up in their parents’ clothes.
The illusion falls flat, especially when the supporting cast’s Kolkata accents clash starkly with the setting. This inconsistency is jarring, breaking the immersion and feeling as out of place as a fish in the desert.
Raihan Rafi’s direction and the well-composed music scores of Toofan create a cinematic experience that is both thrilling and visually exceptional. However, the film’s shortcomings, including a lack of significant conflict and underdeveloped backstory prevent it from being a well-rounded plot.
For fans of action dramas and those who appreciate rich, character-driven stories, Toofan remains a good watch, though it may leave some craving for a more substantial narrative.
