Director Raihan Rafi’s Toofan, also Shakib Khan’s 250th film, is a gory, racy, action-packed thriller about Toofan, the titular character who rises to power at the age of 15 after killing a powerful goon. Recognising his potential, he is taken in by well-known Don, Bashir, played by Misha Sawdagor. Under Bashir’s guidance, Toofan becomes increasingly cruel and reckless in his pursuit of power. As he grows more threatening and continues his killing spree, the government that he helped bring to power decides to eliminate him. Toofan uses his doppelganger, struggling actor Shanto, to escape his fate.
The plot and design of Toofan may remind audiences of several Indian films, such as Om Shanti Om, Don, Don 2, Animal, and KGF. The film’s appearance clearly draws inspiration from these movies. The two main songs, Dushtu Kokil by Kona and Akassh, and Ura Dhura by Pritom Hasan and Debosrie Antara, also bring to mind songs like Dil Ka Telephone, Bandhobi Lolita, and Dard Karara. Having said that, the background score is particularly effective, heightening the tension and excitement in key scenes.
Unfortunately, the abrupt closure of cinemas after nationwide violence broke out not only deprived audiences of an entertaining experience but also hindered the film’s ability to reach its full commercial potential.
Additionally, many of the dialogues reference ’90s Bangladeshi pop culture and popular actors like Salman Shah. However, the plot barely touches on the lives or backgrounds of other characters.
Despite its stereotypical characters, false wigs, and humourous quips, the film gradually creates a web of hate and gore that escalates rapidly in the second half. The sharp editing by Jobayar Abir Peal and excellent cinematography by Tahsin Rahman in the second half effectively build the thrill of the chase, leading to an intense climax.
In terms of acting, Shakib Khan convincingly portrays both the innocence of Shanto and the commanding presence of Toofan. Mimi Chakraborty, playing Suchona, Toofan’s girlfriend, has a few scenes but is given a more convincing and well-written character than Masuma Rahman Nabila’s hapless Julie.
Loknath Dey and Gazi Rakayet provide solid support in depicting Toofan’s terror-filled life as he engages in one gory rampage after another, establishing himself as a
merciless, demonic killer. Furthermore, Chanchal Chowdhury, in a short but extremely powerful role, delivers a chilling performance as ACP Akram. Despite its garbled storyline and lack of character development, Shakib Khan manages to charm his way through the film, which, although absurd on many levels, remains entertaining until the end.
Toofan had been performing exceptionally well in both single-screen theatres and multiplexes since its Eid al-Adha release. The film’s success was evident in the unprecedented number of shows being run. Its potential to shatter box office records and elevate Bangladeshi cinema to new heights was undeniable.
Unfortunately, the abrupt closure of cinemas after nationwide violence broke out not only deprived audiences of an entertaining experience but also hindered the film’s ability to reach its full commercial potential. Until then, according to reports, it had earned around BDT 25 crore, a rare feat for a Bangladeshi film. Under different circumstances, Toofan could have set a new benchmark for the industry and ignited a wave of cinematic innovation.