– By REEMA CHHABDA
With his film Toofaan, Rakeysh Omprakash Mehra enters the sports arena for the second time. While Farhan Akhtar played the legendary Olympic runner in his film Bhaag Milkha Bhaag, the director’s Toofan enters the boxing ring.
Aziz Ali, a gangster who goes by the moniker Ajju Bhai, is played by Farhan Akhtar. He gets into fights, bullies, and intimidates people, but he soon realises that people cringing in dread when they see him is not the same as respect. Boxing provides him with a sense of purpose at the end. Ali becomes a well-known boxer in the sports world after being coached by Nana Prabhu (Paresh Rawal). Ananya (Mrunal Thakur), his romantic interest, also inspires him to live a truthful life.
Supriya Pathak Shah, Mohan Agashe, Darshan Kumaar, Vijay Raaz, and Hussain Dalal star alongside Farhan in the film.
Direction and Writing:
Rakeysh Omprakash Mehra deviates from his usual storytelling method, which isn’t always a bad thing. The issue arose when he decided to speed things up so much that all of the hard work and struggle appeared to be too easy.
Toofaan’s canvas is cluttered with too many problems, and the narrative, written by Anjum Rajabali and Vijay Maurya and lasting roughly 160 minutes, appears to be a chore. Editing has been abandoned, with some scenes running on indefinitely. The fundamental premise is weakened by a love story between Ali and Ananya, a father-daughter relationship, numerous tear-jerkers, and multiple songs, and the boxing ring begins to appear all too familiar.
Rakeysh Mehra’s film comes with a fantastic cast. Earlier as the Dongri ‘Dada,’ then as a sweet lover, husband, and father, Farhan Akhtar is magnificent. His journey of self-discovery is enthralling. Paresh Rawal, Hussain Dalal and Mohan Agashe play their parts with remarkable conviction, while Mrunal Thakur is lovely as a cheerful girl spreading her infectious grin and joyous glow.
Shankar Ehsaan Loy’s music lacks the charm that Rakeysh Omprakash Mehra songs are known for. Furthermore, the placement of such tunes is so arbitrary that it has no influence.
Toofaan errs on the side of the needless, and he frequently plays the emotional card to keep us interested. The film deserved more complexity, more thought, and a slower, more engaging, and engrossing narrative.