In an industry long driven by opening weekend numbers, star power, and formulaic storytelling, the Dhurandhar franchise has arrived like a disruption no one quite saw coming. Directed by Aditya Dhar and fronted by Ranveer Singh, the two-part saga—Dhurandhar (2025) and Dhurandhar: The Revenge (2026)—has not just broken records but redefined how Hindi cinema thinks about scale, storytelling, and success.With a combined runtime of 443 minutes and a worldwide gross crossing Rs 2,900 crore, the franchise has done the unthinkable: it has proven that audiences will show up, stay engaged, and even return to theatres—if the content demands it.But beyond the numbers lies a deeper industry reset.
Not just star power, but a perfect storm
Producer Anand Pandit is clear that the success of Dhurandhar cannot be pinned to a single factor. “Action films always have a strong fan base, and ‘Dhurandhar’ once again proved that. The success of a film depends on many factors, and timing is clearly one of them. In this case, the second part was released within months of the first instalment, which worked in its favour. The casting also played a key role. Actors like Akshaye Khanna and Sanjay Dutt delivered strong performances, along with Ranveer Singh in the first part. So, when you look at it, everything came together, the star cast, the performances, and the timing, all of which have contributed to the film’s success,” he told ETimes. Trade analyst Taran Adarsh echoes that sentiment, but goes a step further, framing the franchise as a turning point.“I think all these factors—and the fact that both the films ushered in a new era of story as well as storytelling—played a role. Before the release, expectations were not very high. I remember very distinctly asking around about advance booking, and one top distributor-exhibitor said the advance booking is not so good… let’s hope for a good weekend. But the way the film opened—yes, it didn’t open big—but the way the word of mouth spread, Saturday was bigger, Sunday was very big, and from Monday onwards it was like one unstoppable march,” he told us. This shift is critical. For years, Bollywood has leaned on spectacle-first filmmaking—big stars, big budgets, bigger marketing. Dhurandhar flips that equation: content drives spectacle, not the other way around.
The sequel that refused to be just a sequel
One of the boldest moves was the rapid release of the sequel. In an industry where gaps between installments often span years, Dhurandhar 2 arrived within months of the first film.Pandit explains the strategic brilliance, “‘Dhurandhar 2’ worked because it continued the story from the first part. It follows the same characters, and in a way, the first instalment feels like an interval block, while the second part plays out like the second half of the film. The gaps left in the first half are tied together in the second. In many sequels, the focus shifts too much to making things bigger and louder, and the core plot often gets diluted. But in ‘Dhurandhar 2’, the progression feels natural and stays well connected to its predecessor.”This structural continuity is rare in Bollywood sequels, which often prioritise scale over storytelling. Here, the narrative thread remained intact—tight, purposeful, and emotionally resonant.
Word-of-mouth over opening weekend hype
If Dhurandhar has proven anything, it is this – opening numbers can be bought, but longevity cannot.Pandit draws from broader experience, “Word of mouth plays a major role, especially in maintaining steady collections. This holds true for films, regardless of language. For instance, when my Gujarati film ‘Chaniya Toli’ was released, it broke the first-day collection record of my own production ‘Fakt Mahilao Maate’ worldwide, becoming the highest first-day grosser for a Gujarati film.The word of mouth was so strong that by the second weekend, ‘Chaniya Toli’ was already being tagged a super hit, and it continued to see strong audience turnout, especially for evening shows. So, in today’s digital age, an opening weekend can be driven by promotions, but a film’s run depends on what people say about it.”Adarsh reinforces this with Dhurandhar’s own trajectory, “It didn’t really open big, but the way it grew… from Monday onwards it was an unstoppable march. Both films worked because of storytelling, music, performances, dialogue, characters… everything clicked.”
Realism, risk, and rewriting the spy genre
Perhaps the biggest creative shift lies in tone. While comparisons to franchise films like Pathaan or Tiger Zinda Hai are inevitable, Adarsh insists Dhurandhar carved its own space.Adarsh notes, “It was a spy thriller but in a very different way. We have seen spy thrillers in the past… this was so different. There’s a lot of realism in it. Every actor, every performance, every character stood out. I would say that everyone associated with this film are Dhurandhars. There is no one Dhurandhar.”He even acknowledges moments that felt unconventional, “There are certain sequences—like the one after the interval—that felt a little unusual to me, but I was prepared because the tone had already been established. When a film like this releases, you need to celebrate it.”
Marketing without the traditional playbook
Another industry myth the franchise shattered – the need for aggressive, paid PR campaigns.Adarsh points out, “They have not followed the format that goes into the marketing of the film. It is totally different. You need to compare it with spy films made in Bollywood… this is radically different and better. Today, those films feel pale in comparison.”Pandit adds a strategic dimension, “The ‘Dhurandhar’ franchise shows that larger-than-life cinematic experiences can still bring audiences to theatres, even in an era dominated by OTT platforms. It is a big-scale film, not just in terms of runtime, but also in its overall design, especially casting, music, and action choreography. The strong buzz it created on social media has also helped in building curiosity among audiences.The second part arrived soon after the first was released on OTT, so even those who missed it in theatres could follow the story without losing the flow. At the same time, the film’s success also shows that marketing should focus on what the film is about, rather than only highlighting its scale.”
Breaking the ‘OTT vs theatre’ myth
At a time when OTT platforms were believed to be the dominant force, Dhurandhar proved theatres are far from obsolete.Adarsh is emphatic, “One thing has been proved—people used to say Bollywood is finished, OTT has taken over. Not at all. The theatrical business is still alive. People want to see films on the big screen… but on one condition: give them a good film.”He further adds, “People were buying tickets priced at Rs 2,000–Rs 2,500. It’s not that audiences don’t want to spend—they will, if the film is worth it.”
Star power is no longer enough: A content-first era?
The success also points to a deeper audience shift.Pandit explains, “Post-Covid, there has been a clear shift in what audiences look for, with a stronger pull towards large-scale spectacles that offer a proper theatre experience. However, action films, in particular, need a high level of technical quality to keep viewers engaged and match to international levels in terms of quality. At the same time, there is also a growing interest in fresh and original ideas.While stars can still draw the initial crowd, audience taste is not easy to predict. We have seen films with strong pre-release hype fall short at the box office, while some smaller films have gone on to perform well. This trend is not limited to Hindi cinema. For example, in Malayalam cinema, the recent release Vaazha 2, featuring relatively new faces, including social media influencers, has been doing well and even matching early numbers set by big-star films.So, depending only on star power is no longer enough. You cannot assume that getting a superstar’s dates will guarantee success.”The Dhurandhar franchise has done what few films manage—it has forced Bollywood to confront its own assumptions.That shorter films work better? Proven wrong.That stars guarantee success? No longer true.That OTT has killed theatres? Debunked.That marketing needs heavy spending? Not necessarily.Adarsh frames it even more starkly, “It’s a reboot and a reset button for the industry. People will have to come to terms with how they are approaching the audience.”
A cultural moment, not just a film
In a striking comparison, Adarsh places Dhurandhar alongside landmark cinematic moments.“I remember the craze of films like Sholay… that same kind of craze I see here. I’m not comparing directly, but the impact, the buzz—it reminds you of those times.”He adds, “Today, the number one Hindi film of all time is Dhurandhar 2, number two is again Dhurandhar, and number three is Pushpa 2 (Hindi). It’s a great feeling to see Hindi cinema at the top again.”And despite muted reactions from some quarters, he remains clear. “Whether people praise it or not, the fact remains that Dhurandhar 2 is at the top. You cannot deny this. The numbers are there for everyone to see.”
The final takeaway
If there is one lesson the industry must absorb, it is this—clarity of vision beats formula.Adarsh sums it up best, “Make a good film, make it with honesty, and stick to your conviction. That is very important. If you believe in what you are making, it will connect. Thousands of people stood by that conviction for this film… and the audience is watching, and watching again. That repeat value is a very rare phenomenon.”