Film sequels are a great way to take a story, that’s already loved by the audiences, forward.
In India, the trend of sequeling your story to engage the audiences with memorable characters was introduced by the legendary filmmaker Satyajit Ray with his Apu trilogy in the late ’50s.
But when you look at the sequels coming our way today, there’s always one question that remains unanswered. Why in God’s name are we being served with crass sequels when we didn’t even like the first movie?
The answer is pretty simple: money, that thing which overshadows the cinema in the word “cinema”.
Sequels are just Bollywood producers giving the audiences a giant middle finger. This week’s infliction on the human race is called Housefull 3.
It’s not even like we’re too cynical and critical of our films. We’re not. Every now and then, we love those mindless, slapstick films that are devoid of logic and reason. But we love them. The success of Dabanggand Race is a testimony to that.
But that’s where we’d like to see those stories end.
But here are a few films Bollywood should be making sequels of instead: Delhi Belly, Oye Lucky Lucky Oye, Queen, Udaan, Taxi No. 9211 etc.
I’ll give you an example. Dabangg released in the same year as Do Dooni Chaar. Both films fared pretty well at the box office in their own right. But which one of those did we get a sequel to?
Exactly!