A tale of rags-to riches is sure to bring out the emotions. It’s especially poignant when the rag-wearing man is a Hindi-speaking, slum-dwelling Indian. If you are still curious, here’s a case in point: Eight Oscars winner ‘Slumdog Millionaire.
Why ridicule Danny Boyle’s decision to borrow the Indian sob story and present it to a global audience instead of laughing at him? Bollywood filmmakers have been using this trope since time immemorial. There are a few repetitions in the underlying theme, but they all made it to the halls of many award shows. Some were well-deserved, some not.
Rakeysh Omprakash Viela’s latest drama, ‘Toofaan,’ is a continuation of the cinematic revisionism cycle.
Mehra’s filmography is so unique that it is impossible to not draw a conclusion about him. He is either a storyteller who stands on the extreme end of the film spectrum, a ‘Rang De Basanti” or a “Mirzya”. There is no in-between.
Unfortunately, he is inclined towards the former with “Toofan”.
It all started out as Ajju Bhai (Farhan Akhtar), a Dongri’s gunda-mawali’ who extorted money. But, when he realized that boxing is his true calling, it became a plea for community harmony and an expose in India’s boxing organization.
Then there is the forced-down your-throat romance between Ananya Prabhu, a pro-choice Ananya (Mrunal thakur), and ‘The Storm.
The film’s momentum drops early in the film, with moments of quick revival provided by Farhan’s friendly screen presence. However, it quickly falls apart again seconds later.
The dialogues are the most problematic of all the things that could have gone wrong in this social commentary/ sports drama. Vijay Maurya, Anjum Rajabali were clearly thinking about the dialogues when they submitted these 90s-style dialogues to the paper.
The background score (uncredited) is second: it’s laden with 80s Bollywood-ish melancholy and heroic moments, as well as a gleeful 80s Bollywood-ish glee.