The Art of Sequels: Why Abhishek Pathak’s Approach to Franchises is a Breath of Fresh Air
There’s something deeply satisfying about a well-crafted sequel, isn’t there? It’s like revisiting an old friend who’s grown wiser, more intriguing, and somehow still familiar. But let’s be honest—sequels are often the cinematic equivalent of a cash grab, rushed into production with little regard for storytelling. That’s why Abhishek Pathak’s recent interview about Raid 3, Shaitaan 2, and his ventures into Malayalam cinema caught my attention. What makes this particularly fascinating is his commitment to quality over quantity, a rarity in an industry often driven by box office numbers.
The Raid 3 Conundrum: Patience in an Impatient Industry
When asked about Raid 3, Pathak’s response was refreshingly deliberate: ‘We want to wait until we have something really great on paper.’ Personally, I think this is a masterclass in restraint. In an era where franchises are milked dry for every last drop of revenue, Pathak’s willingness to hold off until the story is right is commendable. What this really suggests is that he understands the value of a franchise’s integrity. Aamir Patnaik’s journey in Raid isn’t just a character arc—it’s a promise to the audience. Rushing it would be a disservice to both the story and the fans.
What many people don’t realize is that this approach is a gamble. In a world where audiences demand instant gratification, delaying a sequel could risk losing momentum. But if you take a step back and think about it, the franchises that stand the test of time—think The Godfather or The Dark Knight—are the ones that prioritize storytelling over deadlines. Pathak’s patience might just be the key to Raid’s longevity.
Malayalam Cinema: The Unsung Hero of Indian Storytelling
Pathak’s expansion into Malayalam cinema isn’t just a business move—it’s a creative one. From my perspective, this is where the interview gets truly interesting. He’s not just dipping his toes into a new market; he’s immersing himself in a culture of storytelling that prioritizes substance over spectacle. Malayalam cinema, with its tight budgets and strong unions, has mastered the art of doing more with less.
One thing that immediately stands out is Pathak’s admiration for the system. He highlights how Malayalam films are shot in 50 days compared to Hindi cinema’s 120-day schedules. What this implies is a level of efficiency that doesn’t compromise quality. Kumar Mangat Pathak’s comment about the budget of a single song in Raid financing an entire Malayalam film is eye-opening. It raises a deeper question: Why can’t Hindi cinema adopt some of these practices?
Shaitaan 2: The Horror of Organic Storytelling
The approach to Shaitaan 2 is equally thoughtful. Pathak insists he doesn’t want to create a sequel just for the sake of it. In my opinion, this is where most franchises go wrong. They treat sequels as obligatory rather than earned. Pathak’s desire to let the story evolve organically, much like Drishyam, is a testament to his respect for the audience.
A detail that I find especially interesting is his comparison to Drishyam’s 10-year evolution. It’s a reminder that great stories take time. In a genre like horror, where jump scares often replace genuine tension, Pathak’s commitment to a meaningful narrative is refreshing. This isn’t just about scaring audiences—it’s about keeping them invested.
The Broader Implications: What Pathak’s Vision Means for Indian Cinema
If you ask me, Pathak’s approach is a blueprint for the future of Indian cinema. By blending the efficiency of Malayalam filmmaking with the scale of Hindi cinema, he’s creating a model that could redefine the industry. What this really suggests is that quality storytelling doesn’t have to break the bank.
But here’s the thing: this model requires patience, something the industry often lacks. Pathak’s willingness to wait for the right script, to invest in regional talent, and to prioritize storytelling over brand extension is a bold move. It’s a reminder that cinema, at its core, is about stories—not just profits.
Final Thoughts: A Sequel Worth Waiting For
As I reflect on Pathak’s interview, one thought keeps coming back to me: this is how sequels should be made. Personally, I’m tired of franchises that feel like they’re on autopilot. Pathak’s approach—thoughtful, deliberate, and audience-centric—is a breath of fresh air.
If you take a step back and think about it, his vision isn’t just about Raid 3 or Shaitaan 2. It’s about elevating Indian cinema as a whole. And that, in my opinion, is something worth waiting for.
