The post Eid frenzy across Bangladesh is certainly the ripples created by superstar Shakib Khan starred celluloid extravaganza, Toofan.
While millions are going to the cinema halls to watch the film, there are reports of vandalism at cinema hall premises, where disgruntled movie-goers chanted slogans against the hall authority for not being able to contain ticket touts.
A TV news clip showed anguished cinema lovers lamenting over the price of tickets, which reportedly rose from Tk. 200 to Tk. 800 on the black market.
Of course we do not encourage black marketing of tickets but as a long time Bangla film buff, I am compelled to look at the brighter side of the sudden surge of ticket prices. That tickets are being blacked prove how Toofan is creating a lasting tempest.
The Toofan paradigm: Such a phenomenon was very common in the hay days of local cinema when the industry was robust, films popular and their allure insurmountable. However, from 2010 till 2020,the popularity of local movies showed a gradual declining trend with the final hammer blow coming with Covid. It was already a moribund industry and the pandemic came to decimate it. Halls shut down, movie making was shunned by producers while cinema lovers decided it was prudent to stay back home and surf Netflix.
But, Pandemic is now a distant nightmare and with several back to back hits, Shakib Khan is now back in form! Along with him the whole industry is reinvigorated.
Now of course, we cannot and should not encourage a one man industry but the Toofan template aimed to prove that the craze whipped up by Shahrukh Khan (SRK) in Jawan can also be replicated for a film featuring our own Shakib Khan.
Understandably, where theres success, controversy cannot be far away. The Toofan obsession has triggered a debate with a large section slamming it for being ahotchpotch of several different movies. There has also been a social media movement, asking the rationale for so much kerfuffle over a film which, as many have pointed out:glorifies oxic masculinity objectifies women and shows excessive violence.
I will not say that Toofan is wholly original and, yes, certain parts reminded me of other films although clever new twists were added to ensure that influence of previous movies did not amount to outright copying.
Art house vs Commercial: Of course, if one wants to find faults there are many!No film is perfect and, least of all, ones that are made for commercial success and profit.
Do I go to the hall to pick out flaws or to enjoy? Well, for me, it was the latter as long as the mistakes did not appear too irrational or preposterous.
It would be absurd to look for logic in a Masala film, which is distinguished by lavish sets, over the top, almost incredulous plots, relentless machismo, item songs in ostentatious attire and fiery bravado.
The mere template is to provide hundred per cent escapism and entertainment. The masala movie is to provide maximum pleasure, make a huge profit and create a feel good feeling for movie goers.
Toofan watchers came out of the hall in euphoria - a mood, which resonated perfectly with the Eid time holiday spirit.
If Eid time is for high spending flashy movies then the rest of the year is fertile ground for a variety of art house or social dramas. Just because Toofan has been an instant hit does not mean the other genres should see a fall in interest. Far from it!
Movie lovers are not fools and hardly fall for one formula too many times. Toofan is a gangster film and the template is nothing new. Yet, in the Bangladeshi context, a gangster film with such extravagance has never been made before!
This particular movie attracts because of its opulent presentation. And, above all else, the point not to forget is this: Toofan is a commercial film! A commercial productions main aim is to attract the maximum people and create a buzz. Some may question the sanity in the melodrama plus the glorification of crime. Hey, we are not the only country, which does this - the gangster film formula began in the West and that basic foundation got a few South Asian condiments to make the films even more exuberant.
As for the killings and all the violence - to be honest, its done with such cinematic razzle dazzle that everyone watching it can realise that its just fun and nothing else.
A comparison can be the Indian film Jawan, which also sparked a rage in Bangladesh last year. That was also a film following the masala format. Did anyone raise questions about the long term sociological implication of Jawan?
Art house movies with less razzmatazz, a smaller budget made for OTT platforms are also getting the praise they deserve. However, when someone makes a movie for the big screen the issue about bringing back the invested money becomes a prime concern.
Toofan is about Shakib Khans acting prowess: Unfortunately, without even watching the movie or seeing the public reaction inside the halls, many have slated the demand for such commercial productions, calling into question the aesthetic sense of movie goers. Firstly, its utterly wrong to judge something unless one has seen it, secondly, saying that the trailer is enough to form an opinion indicates to superficiality.
Honestly speaking, the action, destruction and the item songs will actually slip into oblivion over time.
However, the capacity of Shakib Khan to deftly present to diametrically opposite characters with pizzazz will remain. If you ask me, I will underline the maturity in Shakibs acting who, through diligent effort, has mastered his craft.
I agree, ten, fifteen years ago, he was somewhat stereotyped with very wooden expressions. In Toofan, we see his transformation from an amateur to a consummate performer. Therein lies the films biggest success and hats off to Raihan Rafi, the director, for bringing out the best in the actor.
I won be surprised if other directors also want to place Shakib in opposing roles in future films. I am sure, he will also be able to play the idiot and the suave metro sexual with aplomb.
Toofan adds zest to the industry: From a totally different angle, the film brings livelihood to thousands of people working as support cast in a movie along with cinema hall staff. For hall owners, films like these add the inspiration to keep the establishment running. In Dhaka city alone more than ten top rated single screen cinema halls closed down, including Balaka, Gulisthan, Ananda, Chanda, Binaka because of post Covid safety precautions and a general fall in movie going culture.
People are saying Toofan is a game changer - a statement that has triggered intense debate on Facebook. From what I see, its certainly is a game changer in the sense that it has added much needed vigour into an effete industry plus managing to prove that a Bollywood style Dhamaka blockbuster can be made with a Bangladeshi star.
No one is forcing you to watch it but if unvarnished relaxation topped with good laughs is something you
e looking for then head for the halls. Chances are, you will come out with a high. The trick is to ride the Toofan and not get bogged down by too many peripheral issues.
Its a masala film - go, enjoy the spice! Pradosh Mitra is a film buff!
