The Art of Sequels: Why Abhishek Pathak’s Approach to Franchises is a Breath of Fresh Air
There’s something oddly satisfying about hearing a filmmaker say, ‘I don’t want to create a franchise just for the sake of continuing a brand.’ In an era where sequels often feel like cash grabs, Abhishek Pathak’s words during his recent interview with Pinkvilla are a refreshing reminder that storytelling still matters. Personally, I think this mindset is what separates a true artist from a mere producer. Pathak isn’t just chasing box office numbers; he’s chasing narratives that resonate.
Raid 3: Patience as a Virtue in Franchise Building
When asked about Raid 3, Pathak’s response was telling: ‘We want to wait until we have something really great on paper.’ What makes this particularly fascinating is the deliberate pace he’s taking. In an industry obsessed with quick turnarounds, Pathak’s willingness to pause and refine is almost revolutionary. From my perspective, this approach not only ensures quality but also builds anticipation. Fans aren’t just getting another installment; they’re getting a carefully crafted continuation of Aamir Patnaik’s journey.
One thing that immediately stands out is how Pathak’s philosophy contrasts with the typical Hollywood model, where franchises are milked until they’re dry. If you take a step back and think about it, this patience could redefine how Bollywood approaches sequels. It’s not just about the next film; it’s about the legacy of the story.
Malayalam Cinema: The Unsung Hero of Indian Storytelling
Pathak’s expansion into Malayalam cinema isn’t just a business move—it’s a cultural one. What many people don’t realize is that Malayalam cinema has been quietly leading the charge in content-driven storytelling. Pathak’s admiration for its writing and cost-effective production model is well-placed. A detail that I find especially interesting is how he highlights the organized system in Malayalam cinema, where strong unions and controlled budgets don’t compromise quality.
This raises a deeper question: Why hasn’t Hindi cinema adopted similar practices? Pathak’s father, Kumar Mangat Pathak, humorously pointed out that the budget for one song in Raid could finance an entire Malayalam film. What this really suggests is that Bollywood could learn a thing or two about efficiency without sacrificing creativity.
Shaitaan 2: Organic Evolution Over Forced Continuity
The approach to Shaitaan 2 is another testament to Pathak’s commitment to storytelling. He wants the sequel to evolve organically, much like Drishyam did over a decade. In my opinion, this is where most franchises go wrong. They rush to capitalize on success instead of letting the story breathe. Pathak’s reluctance to make ‘any random horror film and call it Shaitaan 2’ is a masterclass in respecting the audience’s intelligence.
What makes this particularly fascinating is how it aligns with the broader trend of audiences demanding more from their entertainment. People aren’t just watching films; they’re investing in worlds and characters. Pathak seems to understand this, and it’s a strategy that could pay off in the long run.
The Broader Implications: A Shift in Bollywood’s Franchise Culture?
If you take a step back and think about it, Pathak’s approach could signal a larger shift in Bollywood’s franchise culture. For too long, sequels have been treated as afterthoughts, rushed into production to ride the wave of the original’s success. Pathak’s methodical, story-first approach challenges this norm.
One thing that immediately stands out is how this could influence other filmmakers. If Raid 3 and Shaitaan 2 succeed on their own terms, it could set a precedent for quality over quantity. What this really suggests is that Bollywood might finally be ready to prioritize storytelling over brand extension.
Final Thoughts: A New Era of Thoughtful Franchises?
Personally, I think Abhishek Pathak is onto something. His focus on organic storytelling, respect for regional cinema, and patience in franchise-building feel like the antidote to the sequel fatigue many of us are experiencing. What makes this particularly fascinating is how it aligns with global trends—audiences everywhere are craving depth and authenticity.
If you take a step back and think about it, Pathak’s approach isn’t just about making films; it’s about building worlds that audiences can return to again and again. In a time when cinema is competing with streaming giants, this could be the key to staying relevant.
So, here’s my takeaway: Keep an eye on Pathak’s projects. They might just redefine what a franchise can—and should—be.
