Classics to Cash Cows: The Story of Sequels

Picture this: It's 2006, and you're watching Akshay Kumar and Paresh Rawal create comedy gold (and today's meme material)  in "Phir Hera Pheri." The sequel to Hera Pheri (2000) somehow managed to work the magic twice. Fast forward to 2023, and rumors of "Hera Pheri 3" have fans both excited and nervous – will it continue the magic, or will it disappoint?

In India, the "Part 2" has become less of a creative decision and more of a business one. From "Housefull" to "Golmaal," from "Dhoom" to "Dabangg," our industry has developed quite an appetite for sequels. And why not? They're like comfort food – familiar, satisfying, and guaranteed to bring people to theaters. Just look at "Gadar 2" – while critics didn’t exactly hand out standing ovations, the film was a hit faster than Sunny Deol could uproot a handpump.

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But here's the ‘saat carode ka sawaal’: Has the Indian audience been conditioned to accept whatever is served on the cinematic thali? As rumors swirl about a sequel to the classic "Border," one can't help but wonder if we're running in the right direction.

What Makes a Sequel, Anyway?

Before we dive deeper, let's get our definitions straight. A sequel is basically any film that continues or expands upon a previous story – whether it moves forward in time, backward (prequels), or sideways into a parallel story.

The Many Flavors of Sequels

The Long Game Players: These are films adapted from existing source material, planned as multi-part stories from the get-go. Think Satyajit Ray's "Apu Trilogy" or The Godfather trilogy– each part was conceived as a piece of a larger narrative puzzle.

The Success Chasers: Remember how "Golmaal" turned into a never-ending comedy franchise? These are films that spawn sequels purely because the first one worked at the box office. "Dhoom" walked so "Dhoom 2" could run (and "Dhoom 3" could... well, let's not go there).

The Universe Builders: The newest kid on the block – interconnected films sharing a common world. YRF's Spy Universe, with "War," "Pathaan," and "Tiger" movies, is trying to be a Make in India™ version of the MCU. 

The Spin-off Stars: These are films that take a supporting character and give them their own spotlight. "Naam Shabana" spun off from "Baby," diving into Taapsee Pannu's character's origin story. While not as common in Indian cinema as in Hollywood, these films can add depth to their universes when done right.

The Reboot Riders: Sometimes, filmmakers decide to dust off an old classic and give it a modern makeover; like how Farhan Akhtar reimagined Amitabh Bachchan's "Don" in 2006 with Shah Rukh Khan. While not a direct sequel, it's a fresh take that respects its source while creating its own identity.

The Spiritual Successors: These are the most subtle of the lot – films that aren't direct sequels but carry the same themes and DNA as their predecessors. While India hasn't explored this territory much, international films like "Blade Runner 2049" show how powerful these can be – capturing the essence of the original while telling their own distinct story.

The Bollywood Formula: More Masala, Less Paneer

Take "Dabangg" for instance. The first film was a fresh take on the cop drama, with Salman’s Chulbul Pandey becoming an instant cultural icon. By "Dabangg 3," we were watching the same moves, just with louder background music. The "Baaghi" franchise followed a similar trajectory – the stunts got bigger, but the story got smaller.

Even in regional cinema, the sequel bug has bitten hard. For every thoughtfully crafted "Drishyam 2" (Malayalam), there's a "Singam 3" (Tamil) that feels more like a photocopy.

"Housefull 4," despite being panned by critics, earned over ₹200 crores. "Race 3" made money despite reactions that ranged from head-scratching to headache-inducing. The message to producers is clear: sequels sell, quality optional.

When Sequels get it Right…

Remember when "Baahubali: The Beginning" ended with that earth-shattering question – "Kattappa ne Baahubali ko kyun maraa?” (Why did Kattappa kill Baahubali?) The two years between the films felt like an eternity, but here's what made it work: S.S. Rajamouli had planned both parts as one epic story. The second part wasn't hastily written after the first one's success; it was part of a grand vision. That's the kind of planning we need more of.

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We've seen how even international giants can stumble. "Game of Thrones" went from "winter is coming" to "winter is disappointing" when it rushed beyond its source material. Closer home, the "Krrish" franchise started strong but got tangled in its own complexity by the third installment. The lesson? Don't let franchise fever override good storytelling.

The Road Ahead

With announcements of sequels to Brahmastra, Border, and countless others, perhaps it's time to demand more. Yes, we love our comfort food, but even dal-chawal needs the right spices. Cinema, after all, is not just about what sells; it's about what stays with us long after the lights come up. Unfortunately, too many of our sequels today resemble fast food – instantly satisfying but ultimately forgettable.

Consider Gangubai Kathiawadi, which told a complete story without leaving hooks for a sequel. Sometimes, letting a good story end is better than forcing it to continue. The next time you hear about a sequel announcement, ask yourself: 

Are you excited because it's genuinely promising, or just because it's familiar? 

Are we creating sequels because we have more story to tell, or just trying to squeeze more juice from a successful ganna (sugarcane)? 

When we celebrate box office numbers over narrative quality, are we enabling a system that values commerce over creativity? 

Because in the end, great sequels aren't just about continuing a story – they're about elevating it. The future of Indian cinema sequels lies not in how many we make, but in how well we make them. And that future, dear movie lovers, is in our hands – one ticket decision at a time.