(L-R) Parveez Shaikh, Abhishek Pathak, and Aamil Keeyan Khan. Pics/YouTube, By Special Arrangement

Big risk, big reward holds true for Drishyam The Conclusion. Writer-director Abhishek Pathak crafted an original story for the Ajay Devgn, Tabu, and Jaideep Ahlawat-starrer, departing from the Malayalam franchise on which the first two instalments were based. Now, the win is for all to see as the suspense thriller’s threequel has reportedly grossed over Rs 300 crore in India. Aamil Keeyan Khan, who co-wrote the screenplay and wrote the dialogues, attributes its success to Pathak’s vision and Devgn’s faith in it.   

“Ajay sir stood behind us like a rock, supporting us in whatever we did. We narrated the first draft to him in April 2025, he loved it. After that, we made a lot of revisions and he was on board with everything,” recalled Khan of how they closed the story that began eight years ago when Devgn’s Vijay Salgaonkar and his family covered up an accidental murder. 

Besides not relying on the Malayalam Drishyam 3, the Hindi counterpart had another challenge — Akshaye Khanna walked out of the film a week before it rolled. The writers quickly reworked the script, and Pathak roped in Ahlawat. Easier said than done.

Khan recounted, “We had to set Jaideep sir’s character dynamics with other players, and we had to deliver in seven days! We wrote 100 drafts for some scenes. We even had 15-20 versions of the ending. It was a humongous challenge as people had seen the first two parts and we had to surprise them. A lot of [the script] was scrapped and rewritten in those seven days.”

One question remained constant as they shaped and reshaped the story: how dark would Vijay Salgaonkar turn to save his family? “Vijay is doing the wrong thing for the right cause. There were so many drafts where he has gone much darker and then we pulled ourselves back, thinking, ‘Is that really Vijay?’ We toyed with the idea of him going completely dark.”

Almost every character in Drishyam’s universe operates in the grey, from Ajay Devgn’s Vijay Salgaonkar to Tabu’s Meera Deshmukh. That’s something director Abhishek Pathak knew as he sat down to write Drishyam The Conclusion. His objective was to ensure that Tabu’s character — a mother seeking answers to her son’s murder for years — did not tilt towards all-black in the final chapter of the suspense thriller.

According to him, her character’s journey of closure and revenge is the spine of Drishyam: The Conclusion. “She tried to go by the book in part one and even two, but now she wants to go a different way. [Going by the book] is not how she believes justice will be served. It will be interesting to watch how the Deshmukhs will change their way in this film,” said Pathak.

Writing the third instalment had another challenge — the need to be a step ahead of the audience that has spent years discussing how Devgn’s character, who has covered up a murder, will elude the police this time. While the team read fan theories posted on social media, they consciously chose not to use them. 

The director shared, “We had to be smarter than anyone in the theatre. It’s a film where people are making their own theories. We were trying to [steer] away from that because we wanted to do something that people are not expecting. We had to think what could be the one thing that people couldn’t guess or had overlooked. It took time to crack that.”

As speculation continues around Akshaye Khanna’s exit from Drishyam 3, director Abhishek Pathak opens up about the controversy, shortly after producer Kumar Mangat Pathak spoke about the issue. Setting the record straight, Abhishek confirms that the film will move ahead with Jaideep Ahlawat. “No, Jaideep is not replacing Akshaye. I’m writing a new character,” Abhishek clarifies.

The director also shares how the film’s lead, Ajay Devgn, has reacted to the issue. “He left it to me completely. Anyway, it’s more about me, Akshaye and the production. So, I would rather leave that aspect of how we dealt with it out.”

Talking about Akshaye’s exit, Abhishek says, “All this happened after the contract was signed in November. He left the movie five days before it was going on the floors. The look was locked, costumes were getting made, the narration had happened and he loved the story.” He says the first disagreement arose when Akshaye wanted to wear a wig.

“My film starts from the point where it ended. I couldn’t have him in the courtroom in the afternoon and in the evening he comes back with hair. How is it possible? That was the point I explained and convinced him. A few days later, this came up again and that’s when we said we will work it out,” shares Abhishek.

Reflecting on Akshaye’s decision to leave Drishyam 3, Abhishek says, “Kumar Mangat earlier told us that Akshaye left the film a day before Dhurandar’s release, stressing that it wasn’t because of money matters.”

Addressing reports suggesting that Akshaye demanded Rs. 21 crore for the film, Abhishek replies, “He is putting out those rumours! I do not want to talk about the amount we eventually locked. Yes, the commercials were revisited, but we somehow worked it out and reached a figure that was mutually agreed upon. Then the contract was signed and after that, all this drama started.”

Abhishek believes the actor’s decisions were influenced by external voices. “I think it’s just that people around him started telling him that he’ll become a superstar and he should now look at something which is all about him. So, I wish him all the best, and would say – try to do a solo film now.”

Asked whether he attempted to resolve the issue, Abhishek says, “When he doesn’t have an answer, then he doesn’t know what to say. That’s something very stupid because we have known each other for a very long time. I stopped (trying to resolve the issue) because I thought there’s no point talking to this person right now, he’s on some other planet.”

Talking about the success of Dhurandhar, Abhishek says, “It’s a great film. It’s doing great numbers and everyone is happy in the industry. But it is a team effort. Be it Chhaava or Dhurandhar, it’s a team effort of the writer, director, actors and a lot of other people involved. It’s not about one person.”

October 2 is a date that holds significance for fans of Ajay Devgn’s Drishyam franchise. In keeping with the date’s relevance to the crime drama, the actor and the makers wanted to unveil Drishyam 3’s announcement teaser on October 2. However, it looks like they faced an unlikely hurdle from the original’s makers, writer and director Jeethu Joseph, and producer Antony Perumbavoor.

It turns out that a one-minute-25-second teaser was cut for the announcement, but the unveiling was postponed. A source says that while producer Kumar Mangat Pathak cited the background music not being ready as the reason for the teaser’s delay, there is more to the story.

“There is an understanding between the makers of the Malayalam franchise, Jeethu and Antony, and the Hindi remake’s producer Kumar Mangat. Apparently, one of the adaptation clauses states that the Hindi team cannot make any announcement about their film’s content without the permission of the original’s makers,” says the source.

Work on the Malayalam Drishyam 3 has begun with Mohanlal kicking off the shoot on September 22 (Georgekutty in action, Sept 23). In contrast, Devgn will begin the crime drama, which will be helmed by Abhishek Pathak, in December.

“After Mohanlal announced the shoot, the Hindi counterpart’s makers announced that their film would release on October 2, 2026. This sudden date announcement did not go down well with Antony and Jeethu. Following this episode, the clause came into effect,” adds the source.

Even before Devgn’s adaptation has gone on floors, there appears to be friction between the stakeholders of the two versions. What’s the cause? We’re told it’s rooted in the Hindi remake.

The source reveals, “The original plan was that all the three versions — Malayalam, Hindi, and Telugu starring Mohanlal, Ajay, and Venkatesh respectively — would be released on October 2, 2026, simultaneously. They were to be directed by Jeethu. But Kumar Mangat wanted his son Abhishek to helm the Hindi outing as Drishyam 2 [2022], directed by him, was a blockbuster. That led to a difference of opinion. Now, Antony and Jeethu are keen to release the Malayalam offering before the Hindi counterpart.” 

mid-day reached out to Kumar Mangat, Joseph, and Perumbavoor, who didn’t respond till press time.

A howdunnit’s biggest trick is its mystery reveal. But the success of the Drishyam franchise defied that notion. Even as each of the Hindi adaptations, led by Ajay Devgn, came almost two years after the release of Mohanlal’s Drishyam (2013) and Drishyam 2 (2021), leaving enough time for the audience to know the plot, it found wide success at the box office. But things may not be the same with the third instalment.

mid-day has exclusively learnt that Mohanlal and director Jeethu Joseph are keen to make Drishyam 3 a bilingual offering to be released in Malayalam and Hindi. With the original’s makers targeting the Hindi audience, among other sections, it may pose a problem for Devgn’s adaptation.

From what we’ve heard, Joseph and Mohanlal are working towards taking Drishyam 3 on floors by May-end.

A source says, “Buoyed by the past two editions’ success, Jeethu, Mohanlal and producer Antony Perumbavoor are keen to make the third outing a pan-India offering. This can become an issue for Ajay’s movie, as his Drishyam 3’s script is still being worked upon. One of the reasons why Ajay’s Drishyam has been successful so far is because the Malayalam original didn’t tap into the Hindi-speaking audience. But if Mohanlal’s movie releases much earlier than Ajay’s, that too in Hindi, it can be disadvantageous to the latter since they both always share story and plot points.”

Meanwhile, the unit is setting the stage for the crime thriller’s shoot, which will see Mohanlal reprise his role of Georgekutty, who has successfully evaded the police despite committing a murder. Thodupuzha in Kerala, where the first movie was also shot, will be the filming location. A set was constructed in Kudayathoor for Drishyam 2, which may also be used.

Another source adds, “Ajay’s Drishyam 3 can roll only by October as he will wrap up Dhamaal 4 and Ranger before beginning the Abhishek Pathak-directed remake. Kumar Mangat Pathak, who has produced the Hindi adaptations so far, is in talks with the makers of the original to see whether both versions can have a simultaneous release.”

Joseph, Mohanlal and Perumbavoor remained unavailable for comment.

After garnering massive success in India and China markets, the cult franchise, Drishyam is set to go global. Producers Kumar Mangat Pathak and Abhishek Pathak announced the Korean remake of the thriller franchise at the Cannes Film Festival 2023. Now, they are set to achieve a new milestone. Panorama Studios has joined hands with Gulfstream Pictures and JOAT Films to make Drishyam in Hollywood – a first for an Indian film.

Gulfstream Pictures is co-founded by Mike Karz and Bill Bindley, who produced Blended, starring Adam Sandler and Drew Barrymore, and Upgraded, featuring Camila Mendes, Marisa Tomei and Lena Olin. JOAT Films founder Jack Nguyen is a film industry veteran and a former Warner Bros executive supervising the Asia region’s production business. The banner specializes in cross-territorial local language remakes.

Panorama Studios has acquired the international remake rights to Drishyam 1 and 2 from the original producers, Aashirvad Cinemas. The franchise is being developed in the US and Korea, and a development deal for a Spanish-language version is being finalized. In addition, other countries are also being considered.

Kumar Mangat Pathak, Chairman and Managing Director, Panorama Studios, shared, “Drishyam’s clever narrative has a universal appeal and we are keen to celebrate this story with audiences worldwide. We are very happy with this collaboration to create this story for Hollywood. After Korea and Hollywood, our mission is to produce Drishyam in 10 countries in the next three to five years.” 

Producer Abhishek Pathak, who also directed Drishyam 2, said, “We have received immense love from our Indian audiences, who have made the Drishyam franchise a massive success. The strength of Drishyam lies in its story, and we want it to be enjoyed by audiences globally.”

While the Korean and English versions are in the making, the remake of the Malayalam film has had a successful run in various languages, including Hindi, Kannada, Telugu, Tamil, Sinhala and Chinese.

In a joint statement, Mike Karz and Bill Bindley of Gulfstream Pictures said, “We are very happy to collaborate on an English language adaptation of Drishyam. The film is a timeless thriller that has entranced audiences across the globe. We can’t wait to bring the movie to fans here in the US.”

Jack Nguyen, founder of JOAT Films, said, “Drishyam has a unique yet enduring story. It combines drama, emotional highs and lows in a riveting cat-and-mouse tale, and our adaptation will undoubtedly keep audiences on the edge of their seats. The story has clearly resonated with audiences worldwide, as evidenced by the numerous remakes it has spawned. We are excited to have the opportunity to present our take on this cleverly crafted thriller to audiences globally.”

Drishyam 2 director Abhishek Pathak and actress Shivaleeka Oberoi got married in Goa on February 9. The traditional wedding ceremony had a modern touch to it. Sharing some pictures of their big day on social media, the couple wrote, “‘You don’t find love, it finds you. It’s got a lot to do with destiny, fate and what’s written in the stars.’ Last evening, 9th Feb 2023, surrounded by our loved ones, we got married in a place where our relationship bloomed. This will forever be the most magical moment of our life! With our hearts full of love and so many memories, we can’t wait to build even more special ones and begin this new journey together (sic).”

The wedding was an intimate affair, attended by their close friends, family members and colleagues from the industry.

Ajay Devgn and nephew Aaman Devgan, Kartik Aaryan, Nushrratt Bharuccha, Sunny Singh and filmmaker Luv Ranjan were among the guests present there. The pre-wedding festivities were held on February 8, while the pheras took place on February 9 and was followed by an after-party.

Drishyam 2 director Abhishek Pathak will tie the knot with actress Shivaleeka Oberoi, who has featured in films like Yeh Saali Aashiqui and the Khuda Haafiz franchise in Goa. The two-day celebration will take place on February 8 and 9.

Hinting that the two are getting married in the month of love, the actress had shared romantic pictures with Abhishek on Instagram and captioned the post, “A sky full of stars, the shore full of starfishes and he was staring at me. #HelloFebruary.”

A source aware of the plans around the big day shares, “It’s going to be a grand affair. The Pathak family has been a part of the industry for several years and hence, it will be a large guest list.”

The pheras will take place on February 9. Last year, the couple got engaged on July 24.

The audience welcomed Vijay Salgaonkar with open arms once again at the theatres in Drishyam 2. At a time when many were questioning the relevance of remakes as they were failing to work at the box office, Drishyam 2 saw impressive footfall and went on to become a massive hit. The film pitted Ajay Devgn against Tabu and Akshaye Khanna. In a conversation with BT, producer Kumar Mangat Pathak and his son, director of the film Abhishek Pathak talk about the movie’s success, how they handle remakes and Drishyam 3. Excerpts:

Abhishek Pathak (AP): Drishyam is a brand we have always been happy about. The script and cast of Drishyam 2 were fantastic. From the word go, we were very confident that it would do extremely well. The response I got from the focus groups (during trial screenings) was fabulous, and so we knew where we were heading.

Kumar Mangat Pathak (KMP): Haan, mujhe pura confidence tha. I am happy that not just nationally, the film has worked well in international markets, too. In the coming days, we will release the movie in some other countries. Abhishek and the team put in a lot of effort. Toh yeh sab dekhke bharosa tha ki yeh film successful hogi hi.

AP: Drishyam is a cult film and a cult brand. Vijay Salgaonkar has a huge fan following. The way Ajay Devgn has played the part, the audience felt that they are part of his family. Also, I think the trailer clicked big time with the audience. Some people say that the thriller genre is not theatre-friendly, but we proved them wrong. I visited a theatre on the Friday and Saturday after its release to see the reaction and I could see people of all age groups and genders enjoying it thoroughly.

KMP: Bahut dino baad audiences ko ek aisi film mili jo woh poore family ke saath dekh sakte hain. There has been a lot of repeat audience, too. I believe that after the success of Drishyam, the audience was eagerly waiting for Drishyam 2 and as soon as it released, the love just poured in.

AP: I was a bit nervous, but the Malayalam version was available online without Hindi subtitles and was not dubbed in Hindi. I believe that people don’t really enjoy watching films with subtitles. Also, after seeing Drishyam, the Hindi audience wanted to see the journey of Vijay Salgaonkar and his family. That apart, I introduced a few changes to the original script. The idea behind remaking a film is not to redo it the way it has already been made. The idea is you tell the same story in a different way to a different audience. If you don’t have that perspective, then there is no point in remaking a film. Instead of the easy cut-copy-paste job, you can just buy dubbing rights, which are comparatively cheaper and dub it in your preferred language. The idea of a remake is that you love a story, and you want to tell the story in your own way. Today, a copy-paste job won’t work as there is easy access to films of all languages on the internet.

KMP: Yes, the key is to give your own twist. I believe when a film is made in a certain language, the filmmaker should make it as per the sensibility of that audience.

AP: We have just started discussing how to collaborate in terms of writing. Once that is sorted, we will think about when to start the shoot and how to go about it. The idea is that we want to collaborate. We are going to write, shoot and eventually release the film together. This way, Drishyam 3 will become a very big franchise coming into theatres together in Malayalam and Hindi.

After celebrating the runaway success of Drishyam 2, director Abhishek Pathak has dived back into work. It is heard that for his next, the director is likely to reunite with Kartik Aaryan, over seven years after Pyaar Ka Punchnama 2 (2015), which had Pathak serve as a producer. This time around, the two are planning to collaborate on a romantic drama.

Sources tell us that Pathak, along with his team of writers, is developing three concepts—a sci-fi movie, a romantic drama, and a thriller.

A source reveals, “The sci-fi story will take some time to be developed, and Abhishek is not too keen to helm another thriller right after Drishyam 2. The romantic drama has piqued his interest, and he has begun talks with Kartik for the project. It will be exciting to see Abhishek direct the actor, as they have come a long way since their Punchnama days. Both are hard-working, passionate and have similar creative instincts. It’s only a matter of time before they team up.”

Pathak is apparently also keen to revive Pyaar Ka Punchnama series with the third instalment that will be helmed by Luv Ranjan and fronted by Aaryan.

Pathak remained unavailable for comment.

This year, the Hindi film industry has seen more shockers than surprises. Some highly anticipated – even heavily promoted – films saw a tepid response at the box office. On the other hand, south films like Vikram and Ponniyin Selvan - Part 1 are sending cash registers ringing across India, while RRR is making waves globally. It’s also been an especially good year for the Kannada film industry, that gave hits like KGF - Chapter 2 and Kantara.

In Hindi film industry, while Gangubai Kathiawadi, The Kashmir Files, Bhool Bhulaiyaa 2, Brahmastra and Drishyam 2 struck gold, there were also many disappointments.

Still, the industry insiders says that it has been a year of immense learning, and one that is winding up with a lot of hope and promise. In a panel discussion, filmmakers, exhibitors and trade experts discuss the ups and downs of 2022, the myths that need to be busted and how the chaos has given them clarity for the way ahead. Excerpts:

Kamal Gianchandani, CEO, PVR Pictures, agrees that the exhibition industry has been slow to recover since the pandemic. However, he adds, “I think, for the lack of a better word, there has been a lot of negativity in the media about people not going to the theatres in big numbers. It is maybe partly correct for some languages, but for the whole cinema exhibition business, when you compare 2022 with 2019 (pre-COVID times), the admissions are down only by 10-15%.”

Having said that, he says that the box office collections are where they were in 2019, since ticket prices have gone up by 14-15% or more. “One could argue that we have lost out on business from 2020 to 2022, therefore, the collections now should have been 10-15% more, but we, as exhibitors, are taking solace in the fact that people have gone back to the theaters in such large numbers despite the two year-break. It’s true that a good number of films in several languages – Hindi films most notably – have underperformed. But it’s also true that our business is of peaks and valleys and we have had similar phases in the past. We are drawing a lot of confidence and inspiration from the learnings of 2022, and I think 2023 will hopefully correct some of the anomalies that we have seen in Hindi cinema and some other languages,” says Kamal.

Director Abhishek Pathak, who delivered one of the biggest Bollywood hits of the year with Drishyam 2, which he also produced, excitedly adds, “I think Drishyam 2 broke the myth that only spectacle films are bringing back the audience. We didn’t rely on songs or heavy promotions. It is pure content that drove the audience to watch the film. The franchise also has a fan following that helped the film. Today, the audience knows what they want to watch. The myth that people won’t come to the theatres has been broken. People don’t want to sit at home and watch movies on OTT all day, they want to go out and watch films on the big screen.”

Director and producer Nikkhil Advani whose Emmay Entertainment and Motion Pictures has backed films like Batla House, Marjaavaan, Indoo Ki Jawani and the web series like Unpaused, is convinced that a certain section of people can’t control the narrative anymore,

“The big learning this year has been that the spin doctors have to pack up their business. They can’t spin anything. Pre-pandemic there was the notion that they could control the narrative by putting out reviews, ratings and influencers to talk about the film. You can’t rely on that anymore. The guy who has paid for the ticket is on a chat group where he will send a message to 300 other people and by evening, the word will be out. Why did people go to watch KGF 2, RRR, Kantara? It is because they felt they would get value for their money. The narrative has now become universal. I think 2023 is going to be a big year.”

Vikram Malhotra, CEO and founder, Abundantia Entertainment, who has backed films Ram Setu, Jalsa and Shakuntala Devi, is all charged up about the slate of films in the coming year and believes that the recent learnings have given him a lot of clarity for the way ahead. He says, “I am walking into 2023 with some mixed feelings, but a whole lot of clarity. Mixed feelings because we are coming out of a challenging year, especially for the Hindi film industry, but what we are positively happy about is that there’s an absolute demand and people are willing to come to the theatres in big numbers. An industry goes into a challenging situation and existential crisis when the demand dries up. What we are seeing with films like Drishyam 2 is that people are willing to come in and spend their time and money, provided they see value in it. The reason I am saying we have some clarity is because we know content is what is pulling people back to the theaters. We even know that the conventional markers of what would draw people to the theatres and result in success – whether it was star appeal, budgets, or genres – we have to throw all of that out of the window. For the last decade or so we have been dealing with truckloads of myths. Self-created myths and markers – like ‘this hero will work or won’t deliver’, ‘this genre will work’, et al. What we now know is that we cannot go back to the audience with sub-standard content or take them for granted.

Stressing how the second half of 2022 brought a lot more stability with it, Akshaye Rathi, Director, Saroj Screens, explains, “The first half of 2022 was shaky, but in the second half, we started seeing a degree of stabilization and consistency, in terms of footfalls. Earlier this year, we were seeing a lot of mid-segment films not making any impact at all. But films like Bhediya, which is still running, brought back the audience for the non-tent-pole films. There was a notion that only films like KGF - Chapter 2 and Brahmastra would work, so it was good to see Bhediya do well, and Drishyam 2 perform exceedingly well. Let’s face the fact that the two years of sitting at home and consuming online content changed the audience’s palate. Unfortunately, a lot of movies that were made before the pandemic had to bear the brunt of rejection from the audience. The failures and successes of all these films will make our industry and our entire value chain wiser. We are now moving towards consistency and we will end the year with a bang.”

Excited about the bouquet of films awaiting us on the other side of 2022, trade analyst Girish Johar says, “I am bullish about 2023. We have big titles coming our way, also from the Hindi film industry (which has taken a beating this year). The other languages have come up in a big way too. Today, the screen no longer matters, it’s the content that is the key here. Earlier we would say that the audience can see the trailer and decide, now we say that they can smell the product. One thing I see increasingly diminishing is the language barrier. Earlier, the audience who consumed Hindi movies knew of Rajinikanth, Mohanlal sir and a few big south stars. Today, so many of them are household names. It is a positive sign.”

Celebrations are in order for the team of Drishyam 2 as the film crossed the Rs 100-crore mark yesterday. Director Abhishek Pathak has his own way of celebrating the success. “I’ll rest now, as I haven’t slept for a year,” he begins. In a year when Bollywood has struggled to lure audiences back to theatres, the Ajay Devgn-starrer — an adaptation of Mohanlal’s Malayalam film franchise of the same name — has come as a shot in the arm.

“I had seen the Malayalam original, but I wanted to tell the story differently. We didn’t want a frame-by-frame copy. The changes happened in terms of storytelling, screenplay, and visual treatment. I was confident that we would enter the Rs 100-crore club.”

The sequel sees Devgn’s Vijay Salgaonkar in a battle of wits with the cops as Akshaye Khanna’s character expedites the seven-year-old case against him. Various factors, from the film’s fan-following to the leading man’s popularity, contributed to the thriller’s runaway success.

“We edited the trailer seven times, and the movie many times. We took the first cut to various focus groups across India. Depending on their feedback, we made a few changes, and made a [tighter] narrative,” says Pathak.

The third part of Malayalam Drishyam is in the works. So, will we also see Devgn return to protect his on-screen family, third time around? “Of course, I will direct Drishyam 3. I’d love to direct all future instalments, but let [the third part] get written,” he laughs.

For now, the director is focusing on his personal life. He was so engrossed in making Drishyam 2 through the year that he had postponed his wedding with Khuda Hafiz actor Shivaleeka Oberoi. “The wedding will happen in the first half of 2023. It will be a destination wedding, but an intimate one.”

Ajay Devgn is known to be a man of few words, but he is also one with varied interests. His filmography, which clocks over 100 films, includes movies of various genres. Extremely passionate about cinema, he is one of the few actors among his contemporaries who ventured into not just film production, but also direction. Among the most-loved films starring the actor is Drishyam, which had him playing Vijay Salgaonkar, a protective father who will do anything to protect his family. He locked horns on screen with Tabu, a combination that created some serious movie magic. With Drishyam 2, which releases on Friday, Ajay returns to the thriller space, this time, taking on Tabu as well as Akshaye Khanna.

In a conversation with Bombay Times, the three-time National Award-winner talks about the annual meme fest on October 2 that has kept the Drishyam franchise fresh in people’s minds, the relevance of remakes in today’s time and telling the stories he wants to as a director. Read on…

I am fully aware of the memes on social media about October 2-3. You are right. This meme campaign and other constant chatter about Drishyam has kept the film alive in the audience’s memory. Even if I miss the memes, a friend or co-worker ends up forwarding them to me. Drishyam is associated with good memories for the most part. It was a very good film; it dealt with the right emotions of a man going to any length to protect his family. Tabu and I are both very invested in this film. The only sad thing is that our director Nishikant Kamat is not with us. The director of Drishyam 2, Abhishek Pathak, has also done a good job of taking the franchise forward efficiently.

Tabu and I are at loggerheads in the film because she’s a cop and I’m a suspect. However, she’s a mother first and is absolutely right in being concerned about her own family. Likewise, I’m a father. For me as well, family comes first. The interesting thing about Vijay Salgaonkar is that, for him, the actual truth is just one — he will protect his family at any cost. He is not thinking of himself as virtuous or as a hero. He is a father who has chosen to handle a sensitive situation in a way he deems correct. For him, his wife and two daughters come first. Drishyam 2 helps define Vijay Salgaonkar better.

It was Abhishek’s (Pathak) idea to bring in the additional character of Akshaye Khanna. When he narrated the script to me with the addition of Akshaye, I thought it was very good. I have no idea why some changes were made to the script. I am an actor and if I am convinced that something is working for a script, I go along with it. Akshaye is a fabulous co-star and a stupendous actor. Working with him has always been worthwhile.

Remakes are not a new phenomenon. They have been made since the 50s-60s. Questioning their relevance in the time of pan-India films is valid. But to say remakes don’t work or will not work is invalid. When a movie is remade with an equally favourite big star from their own region, the actor’s faithful audience or fan base will flock to see the remake. Hollywood remakes so many films with a different set of actors after a gap of a few years. People see both versions. The debate is not whether the film is a remake or not, but whether the film is a good one or not.

The good thing about my friendship with Tabu is that we do not need to reflect on it. The bond is deep, and we can pick up from where we leave it each time. On screen, I share a wonderful equation with her because she is a brilliant performer.

I started my film career as an actor, but at heart, I am a director. I love the process of filmmaking. There is no planned interval between my making films. If a story compels me to tell it, I will.

I own a chain of theatres. If it is economical and if all theatres across the country reach a price consensus, then perhaps my theatre chain may also think about it. These are business decisions. I do not wish to say something without giving deeper thought to it. Besides, the ones who run my business should answer this.

My daughter has not mentioned to me (at least yet) that she wishes to join the movies. So, everything else is hypothetical.

Drishyam 2 was nowhere in his scheme of things, director Abhishek Pathak tells us. It was his producer-father Kumar Mangat Pathak who suggested that he helm the Ajay Devgn, Tabu, and Akshaye Khanna-led sequel to Drishyam (2015), which in turn was a remake of Mohanlal’s 2013 Malayalam film of the same name.

“I wondered, ‘Why should I make it?’ Jeethu [Joseph] sir made the 2013 Malayalam original, and [the late] Nishikant [Kamat] made the Hindi adaptation. I wasn’t sure [about helming the sequel]. It is a huge responsibility and challenge to do something that has already been done. Putting your stamp is important,” says the director.

After much deliberation, he decided to take up the challenge of adapting the 2021 Malayalam sequel for the Hindi audience. “The lead characters [had to be true] to what they did in Drishyam. Also, the plot had to be retained. The only way I could step [out of the box] was with Akshaye’s character. When you adapt a film that people have loved, you have to make it in such a way that they enjoy your narrative too.”

He had the advantage of having among the finest talents on board. “Ajay sir comes to the set well-prepared. When I narrated the screenplay to Akshaye, he knew what I had in mind for his role and how I’ll treat it.”

Now that Mohanlal and director Jeethu Joseph have announced the third instalment of their thriller franchise, will the Hindi Drishyam 3 follow soon? “If we want to do [a Hindi version], it’s better that [the two films] come together. They have a script in place; we can work together.”

In 2015, Abhishek Pathak co-produced Drishyam, directed by Nishikant Kamat, which went on to be a successful film. Back then, little did he know that seven years down the line he would be helming the sequel to the Ajay Devgn, Tabu starrer. As he talks about taking up the challenge of making his own version of Drishyam 2 (which is the remake of a Malayalam film of the same name), Abhishek opens up about taking the baton ahead from Nishikant Kamat and feeling intimidated while directing senior actors like Ajay Devgn, Tabu and Akshaye Khanna. Read on...

When we bought the rights of Drishyam 2, I never intended to direct it. But in Nishi sir’s (director of Drishyam, Nishikant Kamat, who passed away in 2020) absence, we had to find someone to helm this project.

A few months before we went on the floors, my dad (producer Kumar Mangat Pathak) asked me, ‘Why don’t you think about it?’ But then, I didn’t want to direct a remake, especially when someone has set a benchmark. It is when a lot of people around me said that I should think about it, that I took it up as a challenge to make my own version of it. I worked with writer Aamil Keeyan Khan and it took me a good 7-8 months to rewrite the entire screenplay.

Making a remake, which has won so much love, is a big responsibility and I just wanted to do it correctly. First, Jeethu Joseph (director of Malayalam, Drishyam) set a benchmark, then Nishi sir set a benchmark, so I had to follow a certain route. I had to be loyal to the world that was already created, but at the same time, I had the liberty to be creative as the story unfolds seven years later. I thought I would be the right person as I have lived that film with Nishi sir while he was directing it. I was there during the shoot of the film. Finally, I did it and I am very happy and satisfied with what I have done.

I think people are already finding it a little different. Not all viewers prefer watching films with subtitles. Like, even I don’t watch a film that way. You keep reading the subs rather than watching the visuals. It is not a good experience, especially while watching thrillers. That’s something which will help this film and push it to reach its major audience. When we made the earlier part of the story, people loved it. This is a continuation of that tale, of what happens to Vijay Salgaonkar... yeh sabko jaana hai. Trailer mein ek line hai... Mera naam Vijay Salgaonkar hai, aur yeh mera confession hai, and after seeing that scene in the trailer, I have had people asking me, ‘Yaar, yeh confess karta hai ya nahi?’. So, I am assuming that not all people have seen the Malayalam version. That apart, yes, we have got a few characters back in the film (from part one), like sub-inspector Gaitonde (played by Kamlesh Sawant). This character isn’t there in the Malayalam version of Drishyam 2. We thought we should get him back as he was an interesting character in the earlier part. Akshaye (Khanna) sir’s character as a cop is there in the Malayalam film, but we have done it differently. In the first film, it was Ajay Devgn versus Tabu, this time around I wanted it to go a notch higher, so I rewrote the entire character of the cop.

Tabu ma’am’s character had resigned. I had to get a new cop in the picture, who drives the entire game for the Drishyam finale. But as you said, people loved watching Tabu ma’am on screen, and so, we made sure to add a few scenes and make her part of the setting. Now again, that is another change we introduced to the screenplay, which is different from the Malayalam version. Here we have got (Tabu) in a meatier role where she is trying to find the whole truth behind this case. On the other hand, Akshaye sir is going to be a surprise in this film, because there is a world already set where a new character is stepping in. When we were at the scripting stage, I could see him playing this role. I am glad that he came on board as the reaction he is getting for his part in the trailer is really good.

It is exciting to work with actors like Ajay sir, Akshaye sir, Tabu ma’am and even Kamlesh Sawant (who plays Gaitonde). And yes, it was definitely intimidating working with them, though in the past I have worked with Ajay sir in the capacity of a producer. This time, a day before the shoot I could not sleep the entire night wondering how do I even tell this brilliant talent what is to be done. You have always seen Ajay sir do wonders on screen, and suddenly, you have to go and tell him what you want him to do in a particular scene. That made me nervous. As we moved on, everyone got comfortable with the idea of me heading this film and then it became easy for me, too.

I did production because my dad was producing movies and I became a part of it. Direction is something that I wanted to do. I liked the whole process of production, but I always wanted to be a director. Direction is my passion and production is a business, which I am running at the same time. A producer has certain control, whereas a director has complete control of the creative side of a film and that is what I am looking for.

I’ve told Shivaleeka to let this film release and then we will sit down and plan everything. It is a big step in my life that I will be taking, so I don’t want to be bogged down by work stress. Shivaleeka and I have known each other since Khuda Haafiz (2020). We collaborated on that film, and it was during the promotions that we started chatting a lot. Then during the lockdown, we bonded a little more. We loved and enjoyed each other’s company and after a year, we became certain about entering this new chapter of our life.

On September 24, actress Shivaleeka Oberoi posted a video on social media that had her making her relationship with producer-director Abhishek Pathak Insta official. However, the couple got engaged on July 24, Shivaleeka’s birthday. Abhishek popped the question with a ring during their trip to Cappadocia, Turkey. The couple was accompanied by their friends for the holiday, which proved to be a big step in their relationship.

Talking about the special day, Shivaleeka says, “Everyone was surprised. Of course, some people knew about our relationship, but largely, people knew that we were affiliated through our work. I had auditioned for Khuda Haafiz, and I still remember I met Kumar ji (Kumar Mangat Pathak, Abhishek’s father) before I met Abhishek. We later realised that we had common friends. With time, things organically fell into place. It hasn’t been very long since we started seeing each other, but when something feels right, it’s right. Abhishek was already shooting for Drishyam 2. We found ways to spend time together despite so many restrictions over the last two years. Our friends could see that we were good for each other. On my birthday, he planned this beautiful surprise for me, without telling any of our friends. The location, the hot-air balloon…it was out of a fairytale. Since that day, our families have been so happy. They hadn’t met till then, but now we are one big happy bunch.”

She further adds, “Abhishek is a lot like me, which I feel is a huge plus. We’re both in an industry where our lives are in the spotlight, but we prefer to keep our personal lives away from everything else.”

Shivaleeka, who made her debut in 2019 with Yeh Saali Aashiqui, is currently working on a couple of projects. Speaking about balancing work and personal life, she says, “So many actresses are married today, and their careers are flourishing. Work and relationships are a part of life and can absolutely sail together. Abhishek and I have also broached this subject. We’re both clear that our work life will not change because we’re planning to get married soon. I believe one must take the plunge when they feel it’s the right time. There’s no point in dragging a decision. Marriage will mean that we have a solid partner in each other.”

The couple hasn’t zeroed in on a date for the wedding yet, but the families have already started drawing up a list of guests and ceremonies that they wish to have for them. “Abhishek and I were contemplating whether we should even announce our relationship,” she says, adding, “We took two months to eventually do that. Right now, we both have engagements on the work front, but the marriage will happen soon. Once we have some breathing space from work, we’ll start making plans. Everyone is excited. Right now, we’ve left it to our parents to figure out what works best.”

Abhishek’s next directorial venture Drishyam 2 starring Ajay Devgn, Tabu, Shriya Saran, Akshaye Khanna and Ishita Dutta will release in the theatres screen soon.

Taut thrillers usually have little room for songs. In his bid to lend mass appeal to 'Drishyam 2', however, Ajay Devgn has decided to incorporate four songs in the narrative. For the job, he has roped in south composer Devi Sri Prasad, who is enjoying his moment in the sun, courtesy 'Oo Antava' from 'Pushpa: The Rise' (2021). A source reveals that 'Drishyam 2' director Abhishek Pathak and Devgn zeroed in on him after seeing the raging success of Pushpa’s music.

“While the music for the Malayalam 'Drishyam' franchise was given by Anil Johnson, Devi Sri will handle the songs and background score for the Hindi remake. He is one of the highest-paid composers in Tollywood, and has delivered several hits in his 20-year career,” says the source.

Following the blueprint of Mohanlal’s 'Drishyam 2' (2021), the upcoming Hindi adaptation will see Devgn’s character as a now-prosperous businessman who will go to great lengths to protect his family as the secret of his past rears its head. Of the four songs that will comprise the album, two tracks have already been shot.

“The remaining two songs will be shot in Goa in the first week of October. One will be a romantic track, and the other, a situational catchy dance number that will feature Ajay, Tabu, Akshaye Khanna and the rest of the cast. Devi Sri is working on these songs now,” adds the source.

Producer Kumar Mangat Pathak confirms the news, stating, “DSP is one of the most talented music directors in India today. Abhishek showed the rough version of Drishyam 2, and he was excited to come on board immediately.”

Being the captain of the ship is not an easy role. Ajay Devgn knows it all too well. Over the past few weeks, he has been single-mindedly working on his directorial venture Runway 34. We hear the actor, who was filming Drishyam 2 in February, followed by Bholaa in March, took a month-long break from the two projects to focus on his aviation thriller that also stars Amitabh Bachchan and Rakul Preet Singh. After Runway 34 hits the marquee on April 29, Devgn will join Tabu and Akshaye Khanna in Goa for the next schedule of Drishyam 2.

A source from the Runway 34 unit says that Devgn is immersed in the promotions for his third directorial venture. “As he is juggling the triple role of actor, director and producer, Ajay is involved in each and every aspect of the movie. While the post-production is complete, he is making sure that there is no technical glitch before the film’s release on Eid,” adds the source.

Where Devgn will report to the set of Drishyam 2 in the first week of May, co-stars Tabu and Khanna are expected to kick off the schedule from April 23. “The second instalment of the mystery thriller will follow the Malayalam source material. It will trace Ajay’s character, who is now a prosperous businessman, living a content life in Goa until fresh evidence makes the police knock at his door. Akshaye plays Tabu’s associate, a sharp cop who is determined to put the protagonist behind bars,” says a source. It is heard that director Abhishek Pathak has drawn up a month-long schedule to be held in the beach state.

Ajay Devgn’s character in Drishyam (2015), Vijay Salgoankar, made the audience believe that his family actually went on a holiday, which was a well-etched plan to save them from a murder conviction. Now, the actor is all set to reprise one of his most intriguing onscreen characters for the sequel — Drishyam 2.

The story unveils a journey that will leave the audience wondering how Vijay will find his way out this time around. The sequel aims to go a step further than the original and will unravel a certain mood and theme, which will be captivating for a global audience.

Drishyam 2, directed by commenced shooting in Mumbai and will be extensively shot in Goa in the coming months. The film will feature the star cast of the first film including Tabu, Shriya Saran and Ishita Dutta, among others. The story unfolds seven years after the events in the first film and tests Vijay’s resolve to protect his family under any circumstances.

Talking about both the films, Ajay says, “Drishyam was loved by audiences. I am elated to present yet another Drishyam 2. Vijay is a multidimensional character and he creates an engaging narrative onscreen. Abhishek Pathak has a fresh vision for this film. I’m keenly looking forward to part two and I’m sure that audiences will enjoy the mystery and characters as much as they did in the earlier film. ”

Taking over the director’s mantle for the sequel, Abhishek, who won the National Award for Best Short Fiction Film, Boond, in 2009, says, “Making an official remake of a successful franchise film is an honour and a challenge. An opportunity to work along with Ajay Devgn, who is such a powerhouse of talent is a morale booster for any creative person; his unique influence is undoubtedly the most enriching experience for me personally. It’s exciting to retell a story from your own perspective and vision and make it extraordinary. The setting and the mood of the film uplifts the very essence of the crux, making it gripping from the very beginning.’’

Kumar Mangat Pathak, Chairman and Managing Director, Panorama Studios, says, “We had belief in the story and a vision for Drishyam, and had produced the first film with great passion in record time. Being able to remake Drishyam 2 with Ajay Devgn, with Abhishek helming the film gives me a sense of pride and accomplishment.”

Viacom 18 presents Gulshan Kumar, T-Series and Panorama Studios presents, Drishyam 2 produced by Bhushan Kumar, Kumar Mangat Pathak, Abhishek Pathak, Krishan Kumar and co-produced by Sanjeev Joshi, Aditya Choksi and Shiv Chanana.

For decades, female sexuality has remained a hushed topic onscreen, with no focus on the demands, needs or pleasure of a woman. But not anymore, as the OTT space is scripting a change in the narrative, while stripping off the taboo around such subjects, changing mindset – one show at a time.

“Female sexuality is finally being acknowledged in storytelling. This is a positive change. Women are finally being acknowledged as sexual beings and not merely as objects of male desire,” says actor Rasika Dugal, who received acclaim for her role of a sexually dissatisfied wife, who starts a relationship outside marriage in web series Mirzapur.

There was a time when the subject of sex came with a bundle of awkwardness, sometimes wrapped together with suggestive lyrics or visual metaphors like brushing of flowers. Yet, sex was hardly a female affair, and that is what the filmmakers are out to change now. Be it a story of four friends exploring their sexuality in Four More Shots Please!, or the importance of consent in Aahana Kumra’s Marzi, or a more complex look at sex play in recently launched, Bombay Begums.

And filmmaker Imtiaz Ali is pleased by this positive change in the way these subjects are being explored. “OTT platforms allow the point of view and the duration to look at women in a more multi dimensional manner,” says Ali, creator and writer of She, adding, “Sexuality is something that in our society is often used as a weapon to repress people. And being able to make a story about that was very interesting”.

Interestingly, now, the focus is not just on sex, but on exploring one’s sexual identity and owning it up without any hesitation. If there are women indulging in acts of self-pleasure, then there are also women struggling with their orientation. Some examples of redefined portrayal include shows such as Lust Stories, A Married Woman, Dolly Kitty Aur Woh Chamakte Sitare, and Made In Heaven.

Dugal finds it encouraging that “scripts are now exploring and celebrating femininity”; however, she has her concerns. “Filmmaking is a visual medium and there’s a long journey between the written words and the visual. Sometimes, even the most well-meaning scripts end up with sexualised images or visuals. Even with the best intentions we’re finding it hard to break away from those,” she rues.

Actor Shweta Tripathi Sharma, whose introduction scene in Mirzapur showed her character indulging in an act of self-pleasure, feels it’s time to normalise the conversation about women having desires. “This happens, there’s no point shying away from it. Let’s not be hypocritical,” she says. Recalling her introduction scene, Sharma says, “I didn’t think it was a big deal. But there were so many journalists who asked me about it, and I was like ‘Come on.. As actors, we put ourselves out to tell a story... toh iss ko itna bada mat banao.”

For Sharma, the intent of a story is more important than the act. “As long as that intention is correct, it should definitely be explored,” she says, adding, she’ll never associate with a scene which is done just to catch eyeballs. “We have huge responsibility as actors and as storytellers, and we shouldn’t exploit the power... Our moral compass should be in the right place,” she shares.

Director Abhishek Pathak feels that “the way the content is perceived by the audience has also changed in a positive way”. To this, Sharma adds, “The more educated we are, the better it will be. I think the audience is definitely more aware.”

A still from (L to R) She, Bombay Begums and Dolly Kitty Aur Woh Chamakte Sitare