Insaaf promised justice, but delivered a mistrial

With a star-studded cast led by Sariful Razz, Tasnia Farin, and Mosharraf Karim, and backed by Titas Kothachitro and TOT Films, 'Insaaf' promised a gritty dive into the underbelly of justice and vengeance. 

Released across 20 theatres, primarily multiplexes, Insaaf arrived with a pulsating teaser, striking character posters, and a viral song, 'Akashete Lokhho Tara 2.0,' setting expectations sky-high.

Yet, as the credits rolled, audiences were left with a mixed bag—a visually spectacular ride that thrills but falters in its narrative depth, leaving us yearning for more cohesion in its ambitious tale. 

A unique but flawed screenplay

Penned by Nazim Ud Doula, Swarup Dey, and Sanjoy Somadder, Insaaf explores moral ambiguity, civic unrest, and vigilante justice. Centering on Yusuf, a menacing gangster, a resolute cop, and a mysterious vigilante, the story builds slowly before shifting gears with a well-timed interval that deepens the intrigue and tension. However, the second half accelerates at a breakneck pace, introducing a slew of new characters that, while intriguing, overwhelm the narrative.

The screenplay's ambition is its greatest strength and its Achilles' heel. The plot's uniqueness lies in its attempt to transcend the typical underworld saga, touching on societal issues like systemic neglect and the struggles of ordinary citizens. Yet, the execution stumbles, with pacing issues that rob the story of breathing space. 

Emotional moments, meant to anchor the high-octane action, feel rushed or underdeveloped, leaving the audience disconnected. Plot holes emerge as the narrative tries to juggle too many threads—characters appear and vanish without sufficient context, and certain motivations feel forced or unclear. 

For instance, a key character's sudden shift in allegiance lacks the groundwork to make it believable, leaving viewers puzzled rather than invested. The script's desire to set up a cinematic universe, hinted at through a surprise cameo and sequel teases, is exciting but adds to the cluttered storytelling, as it prioritises future potential over present clarity.

Strong ensemble, shallow execution

The characters in Insaaf are a gallery of vivid archetypes, each brimming with promise but hindered by the screenplay's inability to flesh them out. 

Sariful Razz's Yusuf is a fierce, enigmatic gangster whose chilling post-murder ritual—showering in milk—adds a haunting layer to his persona. 

Tasnia Farin's police officer is sharp-witted and resolute, a refreshing departure from her usual romantic roles. 

Mosharraf Karim's morally grey vigilante/deus ex machina is shrouded in mystery, wielding an axe and a menacing aura that captivates. Supporting cast like Fazlur Rahman Babu, as a victim of systemic injustice, and Chanchal Chowdhury in a brief but impactful role add depth to the ensemble. 

Yet, the film's rapid pacing and overcrowded cast prevent these characters from evolving beyond their initial sketches. Yusuf's inner turmoil is hinted at but never explored, the police officer's motivations remain surface-level, and the vigilante's cryptic nature feels more like a narrative convenience than a deliberate choice. 

Even the hinted romance between Razz and Farin, which could have added emotional weight, feels like an afterthought, leaving audiences craving deeper connections.

A highlight of Insaaf lies in its dialogue—sharp, intense, and laced with dry humour. From Yusuf's eerie monologues to the police officer's bold comebacks, the lines reveal character depth and offer levity amid the violence. Subtle irony and well-timed delivery make the film unexpectedly funny and memorably quotable, despite its narrative shortcomings.

Missed opportunities but sound cinematography

For all its visual and performative strengths, Insaaf is weighed down by plot holes that undermine its potential. Key character decisions lack sufficient buildup, making pivotal moments feel abrupt or unearned. 

For example, a sudden alliance shift in the second half raises eyebrows, as the script fails to provide the necessary context. Mosharraf Karim's character, while impactful, feels shoehorned into the plot, as if added for star power rather than narrative necessity. 

The film's attempt to juggle multiple subplots and set up a cinematic universe results in a fragmented story, with loose ends that leave audiences more frustrated than intrigued. These gaps, combined with the underdeveloped characters, prevent Insaaf from reaching the heights of its ambitious premise.

Insaaf excels in its visual and sonic presentation. The cinematography by Razu Raz, S M Azhar, and Biswjit Datt is striking—each frame thoughtfully designed, from Dhaka's neon-lit streets to dimly lit underworld corners. A rain-drenched chase scene stands out, where lighting and movement evoke near-painterly beauty. The gritty greys, with flashes of red and blue, lend the film a distinct noir flavour. 

Arafat Mohsin Nidhi's background score intensifies both the action and emotional scenes, though some transitions feel uneven due to the screenplay's hurried pacing. The score's pulse during fight sequences builds adrenaline, while softer tunes add layers of atmosphere. 

Shouquat Ali Imon's 'Prem Pukure Boroshi,' performed by Mila Islam, offers a tender musical break, though its insertion feels slightly out of sync with the film's rhythm. Despite narrative flaws, the combination of compelling visuals and evocative sound ensures that Insaaf remains an immersive, sensory-driven experience throughout.

Audience reaction and final verdict

Despite its flaws, Insaaf has struck a chord with audiences, particularly for its entertainment value. Theatregoers have praised its high-energy action, stunning visuals, and the electric performances of Razz, Farin, and Karim. 

The dialogues and humour have been crowd-pleasers, with multiplex audiences cheering during key moments. Social media buzz reflects a divided response—some hail it as a bold step for Dhallywood, while others lament its narrative shortcomings. 

The film's R-rated intensity, while thrilling, makes it less suitable for family viewing, limiting its appeal in a festive season dominated by broader releases like Taandob. 

In the end, 'Insaaf: Tale of Legends' is a paradox—a film that soars with its visual grandeur, stellar acting, and sharp dialogues but stumbles in its storytelling. Its unique plot and ambitious themes hint at a cinematic universe that could redefine Bangladeshi action films, but the rushed execution and plot holes hold it back. 

Sanjoy Somadder's direction shows promise, and with a tighter script and more focus on character development, Insaaf-2 could fulfil the potential this instalment only teases. For now, Insaaf is a thrilling, flawed spectacle that entertains but leaves you wishing for a more polished tale of justice.