Sometimes a good story is not enough. It takes years, and a new identity even, for it to come to life. Who knows this better than Akshay Kumar and Priyadarshan as they reunited after 16 years for ‘Bhooth Bangla’? Sources have told mid-day that the upcoming horror comedy was originally planned as the sequel to their hit, ‘Bhool Bhulaiyaa’ (2007).

Led by Kumar and Vidya Balan, ‘Bhool Bhulaiyaa’ was a big hit on its release. Apparently, the superstar and director Priyadarshan were keen to take the franchise forward.

A source revealed, “Priyadarshan had written a draft for a sequel. He was certain that if the franchise were to be taken ahead, it would be with Akshay. But things didn’t materialize then. Later, T-Series took the franchise forward with director Anees Bazmee and Kartik Aaryan. When Priyan sir and Akshay decided to reunite, he reworked that draft.”

Back in 2022, when Anees Bazmee helmed the horror comedy, Bhool Bhulaiyaa 2, little did he know that he would be taking the franchise ahead instantly after its release. The film’s success led to Bhool Bhulaiyaa 3, which releases this Friday. The filmmaker says that the movie is packed with an exciting storyline, Kartik Aaryan’s exuberant performance and ghostly acts by two Manjulikas, played by Vidya Balan and Madhuri Dixit.

Talking about the film, Anees tells us, “Bhushan Kumar (producer) was very confident even before part 2 was released and he told me that we should begin working on part 3. Kartik Aaryan, too, was looking forward to the sequel. I was excited with the idea, but I wanted to crack the perfect plot for Bhool Bhulaiyaa 3. I am not the kind who simply jumps onto the bandwagon…ek film achchi bani toh chalo dusri banate hai to capitalize on the film’s title. I am a writer first and then a director, so that one line story is very important for me. In the final story, I could see scope for a lot of drama, emotions and comedy and I could visualize shooting it on a larger-than-life scale.”

Ask Anees if he feels the pressure of taking a successful franchise ahead and he says, “When I made Welcome, I had that pressure because I had a successful film like No Entry behind me. Then when I made Singh Is Kinng, I had the pressure of Welcome behind me. Toh yeh silsila toh chalte rehta hai because people expect something from you. Forget people, even I have expectations from myself. Mujhe ek darr rehta hai ke maine itni saari achchi filmein banayi hai, kya yeh film bhi achchi bana paunga? However, once the film rolls and after the first day on set, I forget about the pressure."

Anees, who has been working in this industry for four decades, doesn’t believe in resting on his past laurels. He explains, “I have always believed that there’s no shortcut to anything. I have always believed in learning new things. In showbiz, I have worked in all kinds of departments, be it camera, sound, editing or the art department, yet, I feel like a newcomer, and feel the need to grasp more. New entrants in the industry get inspired by me and I get inspired by them. Maine hameesha mere tareeke ko ahmiyat di hai. If you feel ki iss tareeke se I can convey my message in a film better, then I stick to that. Every filmmaker has their own style. I don’t believe in following a pattern, I believe in working in that moment.”

Talking about staying relevant, the director says that he would like to direct a web show at some point. “Not because it’s a trend now, but because I want to explore this new format of storytelling. I am waiting for an idea jo main larger-than-life style mein shoot kar saku. If OTT hadn’t been there I couldn’t have sailed through the pandemic. Watching movies is my hobby. I want to experiment with everything related to filmmaking. So, my web show will be my kind of cinema. There will be grandeur, entertainment, and it will be packed with stars.”

With Bhool Bhulaiyaa 3, Anees is getting the original Manjulika, Vidya Balan, back into the franchise. Any plans to get Akshay Kumar back to it too? “Maybe in Bhool Bhulaiyaa 4 (laughs).”

Talking about his urge to work with Akshay, Anees adds, “He is my friend. Maine mere zindagi ki sabse behtareen filmein Akshay ke saath banayi hai (Welcome, Singh Is Kinng). We have a great tuning. Meri icchaa hai ki main unke saath phir se kaam karu, and I think the feeling is mutual.”

Addressing the box office clash with another successful franchise, Singham, Anees says, “I am sure both the production houses might have tried their best to avert the clash. But then, due to circumstances, I believe that it wasn’t possible. Agar dono films chali toh Diwali mein double maza aayega.”

When Anees Bazmee had wrapped up Bhool Bhulaiyaa 2 (2022), he had no intention to build the franchise further. By his admission, the director likes to move on to a new story after wrapping up work on one. But the horror comedy’s runaway success made him rethink his plans. “I had cracked five-six stories, but I wasn’t convinced about any of them. The day we cracked this idea, I felt excited about giving my one year to the film,” he begins.

What was this big idea? To have two Manjulikas. From there was born Bhool Bhulaiyaa 3, fronted by Kartik Aaryan. Bazmee naturally thought of the OG Manjulika aka Vidya Balan to play one of the leads. The next choice became Madhuri Dixit-Nene.

“The best thing about this film is that we have two fantastic actors, Vidya ji and Madhuri ji, in the same frame. It wasn’t difficult to convince them because their characters are fleshed out. Such big actors always look at the material that’s offered to them. They were excited to share screen space with each other and be part of the film.”

Often when two A-list actors work with each other, the director feels the pressure of balancing their screen time. But Bazmee had no such worries. “I’m honest about each actor’s role in a film. I don’t cheat or lie when I narrate a film to an actor. I have directed many multi-starrers and never faced such a problem.”

Did he not think of casting Tabu again, considering her act as Manjulika was among the highlights of Bhool Bhulaiyaa 2? “Tabu ji is a fantastic actor and a dear friend of mine. Her performance had a huge role to play in Bhool Bhulaiyaa 2’s success. But the point where I left her character—where the ghost and the villain were left together in a room—taking that forward would not be appropriate. I felt that character would remain memorable with the way I left it in the second part.”

With barely 15 days left for the Diwali release, the team is gearing up for a box-office clash with Ajay Devgn and Rohit Shetty’s Singham Again. Bazmee hopes that both releases fare well. “In the past, two big films have released on the same day and become hits. I don’t believe in words like ‘clash’. A lot of people associated with Singham Again are my friends. I am sure they’ve made an expensive film with terrific action. I will be the first to watch Singham Again, and I hope the audience watches both the films.”

Choreographer Pony Verma continues to be grateful for the faith that filmmaker Priyadarshan had in her when he offered her the opportunity to choreograph the song Ami Je Tomar (Mere Dholna) in Bhool Bhulaiyaa (2007). “He called me and said, ‘Pony you’re going to do the song of your life’,” she tells us.

Today, Verma hopes to choreograph it again after actor Vidya Balan, who she calls her “lucky mascot”, first performed on it, followed by actor Kartik Aaryan in Bhool Bhulaiyaa 2 (2022).

“When have we seen a commercial actor doing a classical number? [Kartik] did a wonderful job,” she expresses.

With both the actors returning for Bhool Bhulaiyaa 3, Verma has her fingers crossed. “I hope I get this opportunity,” she adds.

Recalling how she choreographed the original song, she says, “Vidya used to have swollen feet, bruised knees.”

For Verma, choreographing a song that features a disoriented woman dancing was something she had never done before. “It’s not like gaana kiya, paisa liya aur chale gaye. It was beyond that. Vidya and I cried when we saw [the final cut],” she wraps up.

Kartik Aaryan has emerged as the torchbearer for the next generation of Bollywood actors, not only because his films have been successful blockbusters but also because he’s a formidable name in the world of brand endorsements.

Aaryan, who debuted on the ‘Forbes India Celebrity 100 list’ in 2019, today boasts of an impressive portfolio of brand associations that transcend international boundaries.

Aaryan entered the industry as an outsider, but with his boyish charm, relatability and effervescent energy, has climbed up the pedestal to become a favourite among corporates.

One of the key factors contributing to Aaryan’s unparalleled success when it comes to signing up brands is his discerning choice of films and the diverse characters he brings to life on screen.

Neeraj Joshi, marketing head at Zee Studios, said, “Aaryan’s is a story that brands love. A boy-next-door from central India making it big with sheer determination, undeniable talent and ‘in-your-face’ attitude. His appeal cuts across age, gender and orientation, which is something most big stars still covet.”

His recent successes, including Bhool Bhulaiyaa 2, Satyaprem Ki Katha, Freddy and Dhamaka, have skyrocketed his brand value and demand. His upcoming roster includes the muchanticipated horror-comedy Bhool Bhulaiyaa 3, the youth-centric Aashiqui 3, and Chandu Champion, a real-life-inspired tale targeted at audiences across demographics. He also has a collaboration with Dharma Productions coming up on an untitled war film, which further solidifies his status as a versatile actor.

“Aaryan is known for portraying characters that resonate with the youth. Gen Z appreciates humour that aligns with their sensibilities, and through his fashion choices, movie roles and social media visibility, Aaryan is massively popular among youngsters,” said Joy Chatterjee, AVP sales and marketing, Mankind Consumer Business Unit.

Even within these factors, his active social media persona stands out as a robust advantage. “For advertisers, social media presence can be a valuable asset. While collaborating with a celebrity or influencer, the first metric a brand looks at is the ‘reach’ they have and what kind of a target audience follows them,” Chatterjee added.

Proof of Aaryan’s magnetism lies in the extensive list of brands he endorses, which spans diverse categories: From FMCG giants like McDonalds, Dabur Red and Cadbury Silk to technology and lifestyle brands like Superdry, Boat Speakers, GTPL and Armani Exchange watches, Kartik’s brand spectrum is as vast as it is impressive. In 2023, his campaigns including #ApnePartnerSePucho (Manforce Condoms), #TheKartikAaryanMeal (McDonald’s) and #YaaronWaaliBaat (McDowell) have been the talk of the brand world.

Today, Aaryan’s commercial value is such that he commands fees between Rs. 3 crore and Rs. 5 crore per brand. He also earns Rs. 40-50 crore per film. These figures are testament to his box office prowess and the immense draw he has for audiences and brands alike.

In Kroll’s Celebrity Brand Valuation Report 2022, Aaryan held the 17th position with a brand value of $36.5 million. This not only underscores his popularity but also highlights his ability to resonate with diverse audiences, often through the infusion of humour into his brand associations.

Renowned trade analyst Joginder Tuteja called Aaryan the new face in brand world. “He is a driving force in the world of endorsements. With more than two dozen brands in his kitty, he’s among the top three celebs in the country. It’s indeed a remarkable feat for a person who comes from the heartland, to not just make it big in the glamour world but also retain high levels of popularity among such a large chunk of the audiences. He is one of the leading faces in Bollywood and the brand world,” Tuteja said.

After working together in six comedy films, Akshay Kumar and filmmaker Priyadarshan are set to reunite for their seventh. After their last collaboration,Khatta Meetha in 2010, the two will be working together after 14 years for a horror comedy. Priyadarshan clarifies that the movie will not be a sequel or a spin-off to their cult hit Bhool Bhulaiyaa.

“My film with Akshay is not a remake. It is an original idea. The script is not mine; it was given to me by Ekta (Kapoor, producer). It is not Bhool Bhulaiyaa, but it will be a horror comedy, in the fantasy horror zone, as horror can never be real. I would even call Bhool Bhulaiyaa a psychological thriller with humour. So, this one is not a sequel to any movie. We are going on floors in October,” the director confirms.

The Chup Chup Ke director confesses that lately, he has not been working as much. “I was not happy with the scripts that were coming to me. This (project with Akshay) is something I found exciting,” he shares.

When asked why he did not direct the sequel to Bhool Bhulaiyaa, he replied, “I actually never had a subject (for Bhool Bhulaiyaa 2). I am very happy with the kind of success the film got, and I even congratulated Anees (Bazmee, director) for making it. It is not easy to make a successful sequel. Everyone accepted the film.”

While the scripting of the Akshay Kumar-starrer is on, Priyadarshan is also working on a documentary. “I have never made a documentary, so this is my first attempt at it. It is on the history of the Ayodha temple and starts from 1983.”

In March, Kartik Aaryan announced that Bhool Bhulaiyaa 3 will be a Diwali 2024 offering. Behind the scenes, director Anees Bazmee and the team have made brisk progress on cracking a fitting sequel. So much so that we hear the director will take the third instalment on floors in March 2024.

Sources from the creative team reveal that the horror comedy, like Bhool Bhulaiyaa 2 (2022), will be based in a north Indian town. Next week, the directorial team will go scouting for locations in the northern and central belt.

A source reveals, “Anees won’t be a part of this recce as he will travel to the US in December. He will return to India in January and finalise the locations from the shortlist. The first schedule will kick off in Mumbai, where the director plans to shoot some dramatic portions with the leading man and supporting cast. After that, they will head to a north Indian town for the second schedule.”

In Bhool Bhulaiyaa 2, Aaryan played the character of Ruhaan, who, when caught in a sticky situation, poses as Rooh Baba and claims to drive spirits away. Earlier this year, the actor, Bazmee and producer Bhushan Kumar cracked a concept that takes Rooh Baba’s narrative forward. “Anees completed the script last month. Though Kartik will reprise his role of Rooh Baba, he will be presented in a new avatar this time around. The story will begin where the second part ended,” adds the source.

Buzz in the film’s team is that Tabu, who stole the show with her double role of Anjulika and Monjulika in the second outing, may make an appearance. “The makers are keen to bring her back in the third instalment. Since both characters died in the climax, they are brainstorming on how to include her.”

Remember the noughties when Bipasha Basu (Raaz), Urmila Matondkar (Bhoot) and even Amitabh Bachchan (Darna Zaroori Hai) and Ajay Devgn (Bhoot) gave us shivers when they stepped into the world of horror? Over the years, the number of horror films being made in Bollywood has reduced considerably. In 2023 (till October) we have only had a single horror film – 1920: Horrors of Heart released in the theatres, which is alarming.

BT talks to filmmakers to understand why the industry is shying away from making films in a genre that is so popular amongst audiences worldwide.

Filmmaker Vikram Bhatt who happens to be the only filmmaker religiously sticking to the genre states, "Horror as a genre has never been considered as mainstream it has been considered as what they say B-grade movies. But it is their inability to see the potential of horror. The genre has its own audience, fear is a potent sensation to sell. Unfortunately I am the only one carrying the baton."

Vikram's latest installment of 1920 was a hit at the box office. He adds, "Horror works without big stars. No mainstream big hero wants to be scared. A lot of times when I cast leading ladies they ask questions whether they would look disfigured, or would have different makeup. Horror is a good genre for anyone’s vanity. Also, horror is not a genre that will re-establish your stardom, Stardom is about larger than life hero; horror is about larger than life villain. Their lies the difference."

Although Vikram mentions that no big actor wants to be scared we have had Vicky Kaushal in Bhoot Part One: The Haunted Ship, Bhoomi Pednekar in Durgamati or even Anushka Sharma in Pari, recently delving in the genre. Ironically all the films turned out to be a bummer at the box office.

The recent horror which was well received by the masses and the critics alike was Sohum Shah-led Tumbbad. However, Sohum himself not a horror fanatic says his movie is not a horror genre. "For me Tumbbad is a folklore," he says.

On why the genre has been diminishing, Sohum explains, "People usually don't consider horror as a good film. Also, the standards of making a horror is quite high as the VFX, makeup everything needs to be of good quality. But I believe horror has a loyal audience. There is demand, we just need one movie that works. I believe the genre is untapped yet and could be a nice territory for makers."

Pavan Kirpalani, known for directing Ragini MMS, Phobia and Darr @The Mall, shares, "The genre has it’s moments, sometimes it does well. But there are not too many takers for the genre. Not too many filmmakers and producers to back it as well. So, it falls in a gray space most times. All it takes is one really good horror movie to bring the market alive again. Right now theatres are back and people want to go back into theatres. Horror is a genre made for that cinematic experience, as it is a communal viewing experience. So I feel it is just around the corner."

While horror movies were missing at the silver screen there were a few that made their way on the digital platforms. Bulbbul, Ghost Stories were a few horror projects on OTT recently that made the buzz in the recent times. Unanimously makers believe that while there is demand for the genre there aren't enough loyal horror fanatics to make a good horror. "I think there’s no larger keen, drive or interest to make them. In this country everyone wants to make a commercial Bollywood movie," Pavan shares. 

Echoing the sentiment, director Anees Bazmee elaborates, "We are capable of making any genres, but one of the major reasons I have stayed away from the horror genre is because the audience gets restricted. Once you make a horror film you are cutting down the kids, who form a major chunk of your target audience. So essentially the movie is not for the larger audience, as it will come be A rates. So, business kam hojaata hai."

In 2022, Anees did step into the genre albeit with a twist. He helmed Bhool Bhulaiyaa 2, a horror comedy which minted money at the box office. Pavan believes "horror comedies have revived the horror genre". Interestingly Pavan has recently directed a Horror comedy - Bhoot Police.

"Horror comedies were non existent till Stree came. No one even processed the ideas till 2018 then suddenly Stree came and now everyone wants to do horror comedy because it is a commercial success. I have been only making horror movies. But I have been getting a lot more work because of horror comedies being a lucrative and commercially viable genre. Everyone wants to make one. I see the perks of horror comedy, because as a horror enthusiast it lets you make a good horror film but also make it for a wider audience because you put comedy in it," the Gaslight director explains.

Just in the recent years we have got a plethora of horror comedies making their way on screen with Bhediya, Laxmii, Phone Bhoot, Bhoot Police, Chandramukhi 2. All the movies started a popular mainstream actor. However, not all of them set the cash registers ringing. "Any genre's requirement is for it to be a good film. Putting comedy in horror is not a safe bet. It will work on your conviction," Anees signs off.

In the past few years, Tabu has been unstoppable. Yes, the actress has been seen in a range of films across genres, but more importantly, she’s been a part of some of the most successful films recently. She doesn’t go to town talking about it, but her work speaks for itself. Tabu, who plays a tough IPS officer Diana Joseph in Bholaa which hit the theatres last week, shares screen space with her friend and co-star of many films, Ajay Devgn. In a chat with Bombay Times, she talks about the comfort of being directed by him, playing several cop characters differently and why she does not feel the need to flaunt her successful run at the box office. Read on...

It’s the biggest difference as there’s a gender shift. Since it is a female character, the nuances are different. The equation between Bholaa and my character is exactly the way it was in the original, but of course, some things are different because she is a female cop. One of the most challenging things about my part was that my arm is in a sling throughout the movie, so it restricted my movements. So, the scenes that required me to run, fall and get on a truck were difficult, because with one hand, you are not as agile. We had an excellent 1000-member crew, and some of them have worked with Ajay for decades. So, I knew mujhe yeh log sambhal lenge. I didn’t have to be extra vigilant. I have worked with that action team for so many years. During Prem, I had worked with Ajay’s father (action director Veeru Devgan).

Yes, I understand exactly what he wants. I understand his moods, personality and rhythm well. I know him as a person — his likes, dislikes, how he functions and what he wants to convey even though he doesn’t use too many words to explain. It is easy to work with him. I know when to leave him alone, when he is tense or relaxed. Isiliye shayad mujhe aisa lag nahi raha hai ki maine kisi director ke saath kaam kiya hai, also because he’s acting in the film, it was fun. As actors, we have worked extensively. In recent times (films like De De Pyaar De, Golmaal Again and the Drishyam franchise), we were paired in each film in an interesting manner, and our journey since 2015 has been very strong. It has its own solid space. I think these films have accommodated us well together.

Filmmakers came to me with these roles with the thought that I would be good at playing them, and I have loved the parts. Also, I liked the roles apart from the fact that they were of a cop. She’s a woman and being a cop is just a part of her work. There are many other things that dictate her behaviour, and those things made her who she is on screen. These were some interesting aspects to play. These three films were so different from one another that you automatically have varied roles on your plate. Pammi of Kuttey is very different from Meera Deshmukh of Drishyam, and so is Diana Joseph of Bholaa from the other two.

Everybody said it (that the films were successful and made money), then why should I talk about it? Mere nahi bolne se thodi na woh fact chhup gaya? Dekho, jab duniya koi cheez bolti hain na, toh aapko chup baith jaana chahiye. Everybody else was doing the job for me, so why should I do so much mehenat (laughs!). Mujhe kuch toh apne seniority ka faida hona chahiye na, ki mujhe ab zaroorat nahi hai bolne ki. Mujhe pehle kabhi bhi zaroorat mehsoos nahi hoti thi, but abhi doosron ko bolne do yaar, maine apna kaam kar diya. See, ultimately, people should do what they enjoy doing and what really exudes through their personality. I have always been like this. It’s not like main suddenly aise ban gayi hoon.

Actor-producer Arjun Rampal understands that filmmaking is not just an art but also a business. Despite a brilliant performance, the success of a film often boils down to its box-office numbers. Rampal’s last release, the big-budget film Dhaakad (2022), failed to meet expectations, and he admits that it hurt: “I don’t think it deserved to do the kind of numbers that it got. Dhaakad was one of the first few films to come out post-pandemic. People were maybe scared to go to the theatre.”

However, he does acknowledge that the movie clashed with Bhool Bhulaiyaa 2, which performed well at the box office. “We can’t even say that; Bhool Bhulaiyaa 2 (2022) did really well. Maybe we released with the wrong film. Every film has its destiny, and you just have to accept it and move on. But I am proud of the movie,” adds the 50-year-old, set to be seen next in the film Crakk.

Rampal admits that “big-budget films have pressure to perform at the box office”, and he is more into “content-driven films”.

“[Having said that] I am into the whole spectacle of cinema. I am very glad Pathaan has done so brilliantly; we all needed it, and the industry needed those numbers. You cannot say box-office numbers are not important,” he concludes.

The films Hera Pheri (2000) and Phir Hera Pheri (2006) remain etched in the minds of cinegoers. Around 17 years later, the hit trio of Akshay Kumar, Paresh Rawal and Suniel Shetty are coming together for its third part. Similar is the case with Indian, (1996), which is being revisited for a second part after 27 years. Gadar (2001), which saw actor Sunny Deol rise to ranks of a superstar, is also getting a sequel.

However, there is ample proof of adaptations and sequels not working out — Bunty Aur Babli 2 (2021), which came out 16 years after the first part, Namaste England (2018) and Love Aaj Kal (2020), both of which were revisited 11 years after the release of the original. All of these disappointed, both critically and commercially. Despite this, is it a safe bet or a risky proposition to be revisiting film brands that were established decades ago?

Filmmaker Anees Bazmee, who successfully revisited Bhool Bhulaiyaa (2007) through Bhool Bhulaiyaa 2 last year, says nothing is “safe” in this day and age. “People’s moods change every day. Aisa bol hi nahin sakte ki any film will work 100%. It’s just your gut feeling and experience. Iss tarah ki films ko revisit karna mehnat ka kaam hai. It’s a huge responsibility because the previous film has had such goodwill,” he adds.

Awara Paagal Deewana (2002), Omkara (2006) and Desi Boyz (2011) are also on the list of films to be revisited. Producer Anand Pandit, who has backed these films, says: “Some stories are eternal, like Omkara. We have to tell it differently. But, if you bring, say, Sholay 2 today, it will not work. You can’t experiment with the main story. If it’s a franchise like Dhamaal or Masti, you can bring any story as ultimately, you just want to bring smiles on people’s faces. There is no connection with the first film as such. The name is just for recollection.”

The love for the story is what made director Anil Sharma revisit Gadar. “People gave the original so much love, it’s the public’s film. Maine kabhi pressure liya nahin. Public dekhegi, mere haath mein kuchh nahin hai. Business side of things is important, but so is the craft,” he says.

But, exhibitor Akshaye Rathi feels a story needs to be plated differently, if revisited. “The audience has changed completely. The older one is great to borrow from, but the content that comes out in the new version needs to be like old wine in a new bottle. You have to repackage and modernize it. As long as that can be done, why not [revisit]?” says Rathi.

Tabu has fielded questions of all kinds in her career so far, ranging from those on money to her personal life. But, the one question that the actor finds toughest to answer is — what is the thought process behind selecting the films she does?

“I don’t put a lot of thought into it!” she tells us. “It’s been such a long journey... Usko backtrack karke decide karna is almost impossible. You can’t think, ‘Maine aisa kaunsa ingredient daala ki aisa hua’. There are so many factors, so many permutations and combinations. I really can’t encapsulate in a few sentences,” adds the 52-year-old, last seen in Kuttey.

Tabu, who has the Ajay Devgn-starrer Bholaa lined up next, says she just feels “lucky” to have been offered diverse characters and scripts. “I worked with directors and had fantastic creative exchanges. That’s important,” she adds.

Many actors have often said that their focus is just on doing good work and not so much on box-office numbers. As someone who starred in two of the biggest hits of 2022, Bhool Bhulaiyaa 2 and Drishyam 2, how does Tabu look at things?

“Box office ka sochke toh I don’t think koi bhi actor kaam kar sakta hai,” she says, adding, “Of course, everybody would love the film to do well, no doubt. But, yeh sochke nahin koi kaam karta hai ki main hit picture mein kaam kar raha hoon. Matlab, I can’t. Of course, if it becomes a big hit, amazing! But, the idea is to always do things that excite you.”

The year 2022 was bad year for original Hindi content but it was helped out by dubbed South films which mean business was only 30% down on 2019. Hollywood releases saw good numbers for the big films with regular content pretty much like the Hindi films and putting in lower numbers than regular content in 2019. AVATAR: THE WAY OF WATER broke the record of AVENGERS: ENDGAME but it was down to the South circuits smashing records by distances while the business in many areas was good and not outstanding. 

There were three films that crossed the 200 crore nett mark - THE KASHMIR FILES, DRISHYAM 2 and BRAHMASTRA. THE KASHMIR FILES number was not not organic with sponsored shows by political parties, corporates and individuals. But here even if 100 crore nett was organic, it is still an insane number for the film.

DRISHYAM 2 was the film of the year as far as original Hindi content is concerned and the face of it the film can be called an OTT film but the film was based around human relationships of a family and had brand value. The earlier DRISHYAM had worked on satellite and Maharashtra. DRISHYAM 2 went mad in Mahasrashtra recording numbers second to only KGF - CHAPTER 2 post pandemic and than includes all Hollywood releases as well.

KGF - CHAPTER 2 was the film of the year if we look at all the films. The film set the box office on fire from day one and there was no stopping the film as it racked up initial records at almost every centre in the Hindi circuits. This film, like BAAHUBALI, had seen insane results on satellite which meant huge reach of the film. RRR (South) BHOOL BHULAIYAA 2 which came in the first half of the year were also BLOCKBUSTER films.

KANTARA (South) also deserves a mention as it did huge business in Maharashtra as the regionality and story had takers there but if the film somehow managed respectable numbers in a Bengal or Punjab it was due to how the rural milieu was presented so well in the film which Hindi cinema is unable to do today. These areas would hardly care about the story or the myths of the film.

There are flop theatrical films put in the list before but as its one disaster after another one the flop tag is probably not as bad as it was before. The classifications of 2022 is as follows.

KGF - Chapter 2 (South)

Avatar: The Way Of Water (Hollywood)

The Kashmir Files

RRR (South)

Drishyam 2

Bhool Bhulaiyaa 2

Kantara (South)

Brahmastra

Doctor Strange In The Multiverse Of Madness (Hollywood)

Gangubai Kathiawadi

Thor: Love And Thunder (Hollywood)

Jurassic World: Dominion (Hollywood)

JugJugg Jeeyo

Black Panther

Black Adam (Hollywood)

Karthikeya 2 (South)

The Batman (Hollywood)

Top Gun: Maverick (Hollywood)

Ek Villain Returns

Uunchai

Rocketry - The Nambi Effect 

Vikram Vedha

Ram Setu

Bhediya

Badhaai Ho

Major (South)

Vikram (South)

THE KASHMIR FILES remained the biggest grosser of the year as far as outright Hindi films go though if the film did not get sponsored screenings, the business would have been less than the likes of DRISHYAM 2, BRAHMASTRA and BHOOL BHULAIYAA 2. It is impossible to tell what is the actual organic collection of the film but the facts say it is the highest grosser of the year. However, if all things were equal it would had been DRISHYAM 2 as the top outright Hindi film of the year.

The total collections of the top 25 films amounted to 1859 crore and there will probably be another 5 crore nett to come from the films still running. So lets say a total of 1865 crore nett from the top 25 films. The same in 2019 was 3500 crore with the top ten films alone easily covering the 1865 crore of 2022. This 47% down from 2019; its a huge drop and the figures show the dire situation. Its a horrible scene outside the top five grossers.

Basically business has gone back ten years as in 2012 the top twenty five films picked up around 1950 crore while in 2011 it was 1500 crore. The overall picture is not too bad as there was KGF - CHAPTER 2 (Hindi) and RRR (Hindi) but this will not happen every year. If same time next year, we are up 50% it would be a good result and anything more will be a bonus. Obviously you want to see the major 25 films put up 3000 or 3500 crore like in 2019 but it may take longer to get there.

The top twenty five grossers of 2022 are as follows.

1. The Kashmir Files - 2,46,91,00,000

2. Drishyam 2 - 2,32,00,00,000 (52 days; Still Running)

3. Brahmastra - 2,30,23,00,000

4. Bhool Bhulaiyaa 2 - 1,81,65,00,000

5. Gangubai Kathiawadi - 1,26,32,00,000

6. Vikram Vedha - 79,53,00,000

7. JugJugg Jeeyo - 78,53,00,000

8. Ram Setu - 72,72,00,000

9. Samrat Prithviraj - 68,06,00,000

10. Bhediya - 60,25,00,000 (45 Days; Still Running)

11. Laal Singh Chaddha - 59,58,50,000

12. Bachchhan Paandey - 49,00,00,000

13. Raksha Bandhan - 45,23,00,000

14. Shamshera - 41,05,00,000

15. Ek Villain Returns - 39,74,25,000

16. Cirkus - 35,75,00,000 (18 days; Still Running)

17. Runway 34 - 33,51,50,000

18. Thank God - 32,98,50,000

19. Uunchai - 28,65,00,000 (59 Days; Still Running)

20. Heropanti 2  - 24,91,00,000

21. Doctor G - 24,33,50,000

22. Jersey - 20,46,50,000

23. Badhaai Ho - 18,97,00,000

24. Jayeshbhai Jordaar - 16,59,25,000

25. Jhund - 14,30,50,000

When 2022 came knocking, the Hindi film industry thought that the worst was over. After two years of the pandemic and consequent shutdown of theatres, Bollywood was ready to bounce back in action in 2022. But 12 months on, the picture is grim. Trade analysts have dubbed it as the worst year of Hindi cinema, when only four movies — Drishyam 2, Bhool Bhulaiyaa 2, Gangubai Kathiawadi and The Kashmir Files — became hits, while mega-budget project 'Brahmāstra: Part One — Shiva' managed to break even. What about the other biggies?

From Aamir Khan’s Laal Singh Chaddha, to Akshay Kumar’s Samrat Prithviraj and Raksha Bandhan, from Ayushmann Khurrana’s Anek and Doctor G, to Rajkummar Rao’s Badhaai Do and HIT: The First Case, from the well-intentioned to the masala potboilers — films crashed and burned at the box office.

Distributor and trade expert Raj Bansal pegs the loss at Rs. 2,000 crore. “This was the worst year for the Hindi film industry where almost every actor gave the biggest flop of their career. We expected fresh content to make up for the lost two years. Instead, it has been a nightmare where we lost over Rs. 2,000 crore worth of business. On the other hand, south films did well. Kartik Aaryan was the only successful actor in the younger lot, while Tabu [was the only] actress with two theatrical blockbusters,” he says.

So, what went wrong? Trade analyst Atul Mohan attributes it to two factors: the stars’ sky-high fees that raise a film’s budget, and dated content. “The audiences’ taste has changed in the past two years as they have been exposed to OTT content. Their standards have risen, while most filmmakers are stuck to the same [formulaic] content,” elaborates Mohan.

He adds that actors should reconsider their fees in the current scenario. “Stars should charge on a profit-sharing basis. In the south, producers don’t encourage high fees, or star entourage. The high prices of tickets have also impacted the box-office. The financial situation of the common man has suffered after the pandemic, and they will think twice before spending money on a movie.”

Next year looks optimistic as superstars Shah Rukh Khan and Salman Khan will line up their offerings. But if 2022 has taught us something, it’s that content trumps star value. Film business expert Girish Johar hopes that the industry will learn from its mistakes.

“Going forward, we need to understand projects, and mediocrity can no longer be part of it. The key is to focus on storytelling and scripts. The entire system needs an overhaul — from star pricing to budgets, from ticket rates, to digital and satellite rights.”

The last three months of the year weren’t any different. Be it October offerings Goodbye and Doctor G, or Diwali releases Thank God and Ram Setu — nothing could set the cash registers ringing. It was only in mid-November that Ajay Devgn’s Drishyam 2 turned the tide around, crossing the Rs. 100-crore mark in its first week. Varun Dhawan’s Bhediya won much praise, but couldn’t quite translate it into box-office figures. Ranveer Singh and Rohit Shetty’s Cirkus was expected to end 2022 with a bang. But it turned out to be anti-climactic, as the comedy made only Rs. 26 crores till Tuesday.

- Hiren Kotwani

We have seen filmmakers create a whole universe with action, cops, comedy, even superheroes. But in our cinema and in today’s times, creating a horror comedy universe is rare, and let’s say, not a job for the weak-hearted. There in comes Dinesh Vijan, who leads Maddock Films, a place which he says, ‘Is a home for anyone who wants to tell a story, no matter where you come from’. After Stree and Roohi, he’s all set to release Bhediya in theatres on November 25 — a creature comedy starring Varun Dhawan and Kriti Sanon, directed by Amar Kaushik that is also backed by Jio Studios. Dinesh passionately talks to us about what drives him, how we need to unearth great stories from within us, and what made him pave new roads, and sometimes take the forests less travelled. Read on...

Honestly, I have never looked at any film that I have made as a risk. When I made Hindi Medium, some people told me it was a risk, and before that, it was Badlapur. When you hear a concept from a director or writer, your first thought has to be, ‘I can’t not make this film’, and that’s what drives me to make it. Instinct is everything for me. If there is a voice from inside that tells me that I should make a film, I do it. After being in the business for 18 years, our strength is that we don’t take ourselves seriously. We don’t think we know it all. We believe that we have to constantly learn and evolve.

Agent Vinod taught me how to make Badlapur. I learnt what went wrong and how to correct it with director Sriram Raghvan (who directed both). Agent Vinod and Raabta (directed by me) have taught me more than all my films. If you are willing to learn, failure teaches you much more. In fact, Raabta taught me that trends had changed. Through the making of Love Aaj Kal, I was learning how to be a producer. I think that Saif (Ali Khan) and I made a pretty good debut production. Sometimes, it takes about ten years to find your voice and understand what satisfies you. Hindi Medium was a game changer for us. Badlapur and Hindi Medium made me realise that if you have a pure story, strong writing, the right man to direct the film (it’s not necessary that he has to be the best in the business) and good actors — you will hit home.

A while back, we were aspiring to make films that were more like the West and I feel that around 2015 that changed. With Badlapur and Hindi Medium, even I realised that the power has moved as much to small towns, as the people there are actually going to the theatres a lot more. I looked inwardly and found a treasure. There are so many stories buried in these towns and cities. My dad always made me travel a lot and would tell me that, ‘You must know your country’. I owe a lot to him. Most people in the cities don’t know what the rest of India is. Your instinct as a filmmaker also comes with the life that you have lived. Amar Kaushik happens to be a Forest Ranger’s son, so like I said, it is about getting the right man to direct your film.

I think that’s when they are at their best. I have been telling Varun that this is his 2.0 version. He has given his blood and sweat to this film. Now when I see the film, I can’t imagine any one other than him in this part.

It’s the best film I have produced. With Bhediya, our instinct said yes, but we also knew that if we didn’t create a wolf that is of international standard, this film won’t work. And I can tell you that if you look at the animals in The Jungle Book and ours, you will say that ours is as good. When you see the film, you will feel like we have not used VFX, it looks real. We went to one of the best VFX companies in the world and made the film in a record time of about 18-20 months. And also, it’s about what the film leaves you with at the end. There are few films that talk about conservation. This is a film that you would want your kids and young adults to watch. I think what Indians now want are films emerging from their culture, but made at par with international standards. And they want it to be affordable in the theatres. If we can achieve that, we are home.

The world is gravitating towards the first statement you made. Do I completely believe in it? Maybe we will have more clarity in the next twelve months, but as we are talking about it, we have made one (spectacle film). However, we also have a variety of other kinds of films coming up. We have to accept that the digital medium is a reality because most people are in relationships with their phones. We need to understand the screen size, as your film will get consumed on all mediums, so we have to make films keeping that in mind. My first love is theatricals, and we make films for the big screen, but we can’t ignore other mediums. The West is largely in the spectacle kind of cinema space. I feel we need to pull up our socks and deliver high quality films. The film has to completely engage you, which most our films haven’t been doing lately. You need to have an experience — whatever that might be. Today, if you ask me whether a Hindi Medium would still do well, I would say, yes, it would. If I give you a really good comedy with a high concept, will you watch it in the theatre? I think you will. Bhool Bhulaiyaa 2 wasn’t a spectacle film, but it’s done such good numbers.

Even pre-COVID, I was telling my friends that there is going to be a huge change in our cinema. I am happy that we instinctively made Bhediya, which will hopefully keep us relevant. Today, we have to fight to be relevant and win back the audience’s confidence. We have to achieve these two things. We are competing with the West, but we have to look at what we have. If we look deep inside, look at our culture and find those stories, we are going to be able to create that experience for them. And that is their own experience; it’s not America saving the world. It’s none of that. And it begins with writing. We have to reward our writers. My writers are empowered, they have a say and I believe in them. And we (Maddock Films) are a home for anyone who wants to tell a story, no matter where you come from. I was like that, as I don’t come from a film family. I am the first-generation coming into this industry, and all my directors are too. I want my directors to feel that they have got the best wingman in me and that I completely have their back.

Kartik Aaryan is in no mood to take a break or pause. He continues to enjoy a successful stint at the box office, is a favourite among brands, and now has added another feather to his hat: the actor is set to perform the grand closing act at the 53rd International Film Festival of India (IFFI) in Goa today. In a candid chat, Aaryan tells us how he lets all this adulation sink in and never ever gets complacent.

Totally! I have a great sense of gratitude. Last year, I ventured into OTT and did something totally different in Dhamaka, which was appreciated. Then there’s the success of Bhool Bhulaiyaa 2 post-pandemic, now I have Freddy around the corner, which is again a new genre for me. I feel blessed to be working with some fine directors and pushing my boundaries. This act at IFFI 2022 is a celebration of that.

I believe nothing is too small for an impact or to make the right noise. So, I approach everything with the same energy and enthusiasm and give my 100% dedication. It’s a huge honour to take the stage at such a prestigious and respected event.

I feel like I have miles to go and so much to do! The moment I feel content and complacent is when the growth stops. I am constantly wanting to learn, grow and experiment. I’m living the dream that I never want to end.

Performing at IFFI is a great way to usher in my birthday and is a matter of pride for me. It’s been a busy but phenomenal year. I feel extremely grateful for this birthday, and it’s only encouraged me to work harder.

Ever since actor Akshay Kumar confirmed the news of him stepping back from the Hera Pheri franchise, social media has been buzzing with the ‘No Akshay, No Hera Pheri’ trend, initiating conversation around the viability of taking forward such franchises without actors redeeming their iconic characters. And, according to people from the industry, getting the original cast is always the best bet.

Last week, Kumar confirmed that he is moving away from the Hera Pheri instalment due to some creative issues. Sometime back, there were reports suggesting that actor Salman Khan had distanced himself from the No Entry sequel.

Actor Suniel Shetty, one of the leads in the film, is upset about the new development. He says, “I am not happy about it. It hurts. 14 saal kaat liye, uske baad bhi problem ho toh it hurts. We need to sit and talk. And Kartik is not playing Akshay’s character. That is a completely different character that is coming to the movie.”

Whereas, actor Paresh Rawal, who has also been part of the movie franchise, says, “Audience ko kuch naya milega Hera Pheri 3 mein... However, commercial decisions about who to bring back are made by producers, writers and directors. I prefer not to think about it.”

On the other hand, actor Tusshar Kapoor uses the example of the Golmaal franchise to stress that having an original cast for a franchise is important, saying, “I don’t know about the commercial viability, what will happen or not. But director Rohit Shetty was the star of the franchise for us, and I can only hope he casts us all together if he is planning to go forward.”

However, when it comes to starting a new chapter with new faces in the franchise universe, the past examples highlight that it comes as a big gamble, with Bhool Bhulaiyaa 2 with Kartik Aaryan turning out to be a success but Race 3 (2018) with Salman Khan tanking at the box office.

Producer Ramesh Taurani, known for backing projects such as Race, Raaz and Ishq Vishk, asserts: “Yes, stakes are higher when revisiting projects without their faces, but a script is the only way to evade it.”

However, Bhool Bhulaiyaa 2 director Anees Bazmee believes that focusing on nostalgia while retaining the essence of the previous instalment is also a viable option, and that it worked for him.

Firstly, I have to say that Hera Pheri without Akshay is unthinkable. The film is identified with its characters, so it will be fantastic to see them back because these characters have remained in the minds of audiences. So, getting the original cast is the best scenario.

When it comes to commercial viability, makers always prefer to get the original cast back. Sometimes, the makers wait for a long time for the original cast, but if they find a safe alternative, they want to go ahead and explore it. Safe is the key word here.

The overseas market has seen decent results in 2022 and that is adding to the success of SOORYAVANSHI and '83 at the fag end of 2021. There have been eight films which have done decent or better business and they are BRAHMASTRA, LAAL SINGH CHADDHA, GANGUBAI KATHIAWADI, BHOOL BHULAIYAA 2, THE KASHMIR FILES, VIKRAM VEDHA, JUGJUGG JEEYO and EK VILLAIN RETURNS.

The HIT or better films in Overseas are BRAHMASTRA, GANGUBAI KATHIAWADI, BHOOL BHULAIYAA 2, THE KASHMIR FILES and EK VILLAIN RETURNS. LAAL SINGH CHADDHA can be called decent but with Shah Rukh Khan or Aamir Khan, who are the biggest stars by a distant, the number is dull as for these two stars, $10 million should come eyes closed even on bad content.

The performance in overseas is driven by numbers in US/Canada and the market here is very much like a big metro in India. So this pre pandemic content held its audience in US while the Indian market has gone into transformation post pandemic as the importance of centres outside the metros has emerged. BRAHMASTRA is the only film to cross $10 million but CIRKUS with a Christmas release will have to the potential to cross $10 million even though it will be a film more for the mass markets in India. The period will give the film a big boost and it could even challenge BRAHMASTRA if the film is good.

The top ten grossers overseas for 2022 are as follows.

1. Brahmastra - $14,150,000

2. Laal Singh Chaddha - $7,640,000

3. Gangubai Kathiawadi - $7,470,000

4. Bhool Bhulaiyaa 2 - $5,880,000

5. The Kashmir Files - $5,710,000

6. Vikram Vedha - $5,100,000

7. JugJugg Jeeyo - $4,580,000

8. Ek Villain Returns - $2,450,000

9. Runway 34 - $1,900,000

10. Bachchhan Paandey - $1,850,000

Giving his lover-boy roles a rest, Kartik Aaryan will be seen as a dentist in Freddy. But this isn’t your humdrum dentist —more like a doctor during the day, and a serial killer by night. Producer Jay Shewakramani admits that director Shashanka Ghosh and he were “edgy” before the teaser was released earlier this week. “But Kartik knows the pulse of the audience, and was confident that it [would appeal to them],” he recounts.

The actor was signed on in 2019, way before he became the success he is today. “Whenever I read the story, I could only see Kartik in the role. I felt he had much more to offer as an actor than his [rom-com hero] image. I met him a month before the release of Pati Patni Aur Woh [2019]. The day after I gave him the script, he told me that he wanted to do it. You feel blessed when your first choice for the film instantly agrees to do it.” Shewakramani adds that the leading man came on board even before they roped in the director.

Over the past few months, rumours were rife that Freddy — owing to the post-pandemic dry spell of Bollywood — was skipping theatres in favour of a digital première. Soon after, it was announced that Disney+ Hotstar had picked up the psychological thriller, also starring Alaya F.

“From day one, we have been clear that we want to make Freddy for an OTT platform. It wasn’t made for theatrical release. Ekta [Kapoor, producer] fully supported us in the decision. While people told us that it could make bigger numbers at the box-office after Bhool Bhulaiyaa 2, we weren’t swayed.”

In the run-up to its December 2 release, the makers released the song, Kala Jaadu, yesterday. “Pritam has composed the songs and background music. This is my eighth film with him.”