It’s raining sequels in Bollywood

Rajiv Vijayakar analyses the trend

Led by ‘Gadar 2’ and now, ‘Tiger 3’, the success story of franchises this year includes ‘OMG 2’, ‘Dream Girl 2’ and ‘Fukrey 3’. And if we consider the YRF Spy Universe as a franchise, then ‘Pathaan’ also counts! The list even extends to an OTT film release — ‘Lust Stories 2’. And coming up this week is ‘Khichdi 2: Mission Panthukisthan’, which like its sleeper-success original, ‘Khichdi’ (2008) may do well too.

Exactly a decade ago, we saw 11 sequels, five of which — ‘Race 3’, ‘Dhoom: 3’, ‘Grand Masti’, ‘Krrish 3’ and ‘Aashiqui 2’ — were money-spinners. 2023, too, will be remembered for a chain of successful sequels with ‘Yaariyan 2’ and ‘1920: Horrors of the Heart’ being notable exceptions. 

Sequels in Hindi cinema date back to ‘Hunterwali Ki Beti’ in 1943, the prequel ‘Hunterwali’ released in 1935. But later, a few franchises (Farz-Keemat-Raksha, Suraksha-Wardat and Nagina-Nigahen) were not advertised as such, and did not do well.

It was only in 2006 that ‘Lage Raho Munna Bhai’, ‘Dhoom: 2’, ‘Phir Hera Pheri’ and ‘Krrish’ became huge hits, and the true era of sequels was born.

Salman Khan in 'Tiger 3'

Sequels are essentially of three kinds: where the story continues (as in ‘Gadar 2’ and ‘Tiger 3’), where one or more characters are placed in a different setting (Fukrey 3), or where the makers are building a brand (‘OMG’, ‘Dream Girl 2’).

Trade analyst Amod Mehra says, “When the original film is a hit, there is a definite desire to watch the subsequent film. So the interest level is high.” 

The only built-in hazard that a sequel can have is that audiences who did not like the earlier film might stay away, but this is balanced by the fact that a significant amount of audiences who have heard of the prequel will want to watch the sequel. 

“On the flipside, a film like ‘Dabangg 2’ (2012) can be a super-hit but a failure as a franchise!” explains Amod. “Making sequels has become a global phenomenon today. But ideally, each subsequent film in the series should be a bigger hit with the audiences. ‘Dabangg 2’ had made the same money as the first film, but only because of more screens and higher ticket rates. It was also lesser appreciated,” he adds.

Again, the main objective is clear: the audience connection has to grow, even if the quality may not improve every time! Comparing a sequel to a star kid, Amod says, “it has the initial, significant advantage of being a known entity. But just like any new actor, it will work or fail only on its own merits or demerits.”

The other point is that with a money-obsessed industry, financiers are ever willing to invest more in a franchise or sequel. But the thumb rule for the audience is “better, not just bigger!” It is here that most sequels fail. On the other hand, we see a certain success level assured for vastly inferior sequels like this year’s ‘Dream Girl 2’ and ‘Fukrey 3’. And obviously, sequels minus popular stars must have intrinsic merit, or else they will tumble like ‘Yaariyan 2’ and ‘1920: Horrors of the Heart’.

‘Gadar 2’ and ‘Tiger 3’ were certainly not comparable to the originals, but the earlier movies had made their respective protagonists — Tara Singh-Sakina and Tiger-Zoya — into iconic characters. The audience was rooting for them, their children and their new stories, and the patriotic fervour did the rest. 

‘Gadar: Ek Prem Katha’, which released 22 years ago, clearly implied that the gap in a sequel barely matters if the follow-up product resonates with the audience, and why director Anil Sharma chose to wait so long for the “perfect” (in his words) plotline to be conceived — Tara going to Pakistan again to bring a family member back.

In a smart move, the film’s producers (Zee Studios) and Sharma re-released the older film theatrically two months earlier, eliciting a great response from Gen Z, many of whom were not even born in 2001, besides reconnecting with the phenomenal quantum of ‘Gadar’ fans who were waiting for Tara and Sakina! 

And speaking of franchises, ‘OMG 2’ was a perfect follow-up, with a social problem with religious hues being common ground. Other than Akshay Kumar, the film had nothing similar to its 2012 original, ‘OMG’ (Oh My God!), except for the powerful, hard-hitting content.

A sequel should thus be made with a lot of cerebration and care, rather than to merely cash in on a brand. And that’s when its makers can laugh all the way to the bank again. The keywords as always are: Audience gratification.