logo
Son of Sardaar 2 is a reminder that audiences have grown up, Bollywood hasn't

Son of Sardaar 2 is a reminder that audiences have grown up, Bollywood hasn't

Watching Son of Sardaar (2012) today feels like opening a time capsule to an era when audiences didn't question much, and comedy was often reduced to tripping over pickle oil or running into slapstick mehman nawazi. Back then, the Ajay Devgn–Sonakshi Sinha starrer, made on a reported budget of ₹40 crore, raked in over ₹140 crore worldwide. It even had a Salman Khan cameo and was considered a 'superhit.' But looking back, it's hard to ignore that its 'humour' was built on a wafer-thin plot and recycled gags.
Riding on that misplaced confidence, the makers have returned after more than a decade with Son of Sardaar 2—only this time, the pandemic has changed the game. Audiences have grown sharper and far less forgiving. And judging by the box office struggle of this sequel, people are no longer willing to waste time or money on a weak, outdated script. In 7 days, the film reportedly made on a budget of Rs 150 crore, has earned Rs 32 crore.
The sequel sets up Rabia (Mrunal Thakur), Saba (Roshni Walia), Mehwish (Kubra Sait), and Gul (Deepak Dobriyal) as Pakistanis. Ravi Kishan, replacing Sanjay Dutt due to visa issues, plays a UK citizen Raja who is fiercely Indian at heart, and has a soft corner for tales of Indian soldiers 'teaching a lesson' to Pakistanis. Mistaking Ajay Devgn for a soldier, he fixes his son Goggi's (Sahil Mehta) marriage to Jassi's (Ajay Devgn) fake daughter Saba.
From the rishta-fixing day to the wedding, Raja, Tittu (Vindu Dara Singh), and Tony (the late Mukul Dev) 'test' Jassi's soldier skills—asking him to shoot bottles, operate a tank, and endure random mishaps. These set pieces are intended as comedy, but not a single scene manages to draw a genuine laugh. In fact, it made a family of six simply walk out of the theater. Not surprised.
ALSO READ | Son Of Sardaar 2 movie review: Deepak Dobriyal runs away with Ajay Devgn-Mrunal Thakur's hare-brained comedy
Ravi Kishan, known for his charm and comic timing, delivers lines like 'tits for ticks' and boasts, 'Maine 5 bhed se 15 lakh bhed kiye hai,' explaining his wealth. Even he cannot save the painfully bad writing by Jagdeep Singh Sindhu and Mohit Jain .
Sanjay Mishra's character Bantu Pandey's transformation from hotel manager (in the first film) to milk vendor and lover of Ravi Kishan's wife, Premlata (Ashwini Kalsekar), makes no narrative sense. Chunky Panday's arc is equally bizarre—married to Rabia's sister, then to Rabia herself, and then abandoning her for a Russian woman, only to reappear for a few minutes at the end and be ridiculed for being Pakistani.
Neeru Bajwa pops in at the start demanding a divorce, only to return at the climax to apologise—just in time for a random chandelier (or jhumar) to crash on her head, prompting audiences to mutter, 'Kuch bhi ho raha hai!'
The film's humour mostly comes from watching talented actors like Ravi Kishan and Sanjay Mishra react to absurd situations rather than the situations themselves. Sharat Saxena, for example, loses his third wife in a pole-dance accident and quickly introduces a new girlfriend to his sons without skipping a beat. While the sequence makes no sense, Ravi Kishan's reaction does.
The absurdity peaks with a cameo from Rohit Shetty, who appears after Ajay accidentally blows up his jeep in a residential UK neighbourhood, without any police or neighbourly interference. Shetty uses the moment to announce Golmaal 5, and the film wraps up as if that were the highlight.
Son of Sardaar 2 isn't just a weak sequel—it's a reminder that audience sensibilities have evolved. What passed for comedy in 2012 now feels lazy, outdated, and painfully forced. Despite Ravi Kishan, Sanjay Mishra, and other seasoned actors doing their best, the film is dragged down by an incoherent plot, cringe-worthy jokes, and random events stitched together in the name of entertainment.
If the first film proved people could laugh at anything, the second proves they won't laugh at just anything anymore.
Jyothi Jha works as a Copy Editor at the Indian Express. She brings in more than 5 years of experience where she has covered Entertainment majorly for TV9, NDTV and Republic Media. Apart from Entertainment, she has been an anchor, copy editor and managed production team under the Politics and Daily News segment. She's passionate about Journalism and it has always been her first choice, she believes in what George Orwell had once said, " Journalism is printing what someone else does not want you to do, rest everything is public relations". ... Read More
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

50 years of Rajinikanth: Behind the ‘family-friendly' superstar's turn towards gritty narratives
50 years of Rajinikanth: Behind the ‘family-friendly' superstar's turn towards gritty narratives

The Hindu

time25 minutes ago

  • The Hindu

50 years of Rajinikanth: Behind the ‘family-friendly' superstar's turn towards gritty narratives

What does it take to become a Superstar? Not a superstar. But the Superstar. What does it take to personify larger-than-life, to become a cornerstone in the cultural fabric of an Indian state that can no longer separate the man from the myth? From his rich-complexion and cigarette-flipping style to an international fanbase and a controversial swing at politics, Rajinikanth has grown beyond life as we know it, in an ascent to the throne that was marked by one godly quality — the magnetic charm to pull crowds to theatres, a spell that even today, 50 years since his debut, fills theatre halls in Tamil Nadu. Everyone knows about the famed story of how Shivaji Rao Gaikwad, a bus conductor and a graduate from the Pune Film Institute, became Rajinikanth in K Balachander's 1975 film Apoorva Raagangal. Perhaps it was the alignment of the stars that brought Shivaji in front of Balachander's lens, but it isn't kismet that made the legend who continues to rule all headlines. It certainly wasn't just the hits; even a prudently sourced hit-to-flop ratio tells that a five-decade-long career in films cannot be chiselled with accurate script choices alone, but an anchored approach to adapt, to have the courage to go where the winds of time take you. In fact, 'Rajinikanth' is a phenomenon Shivaji aggressively brought to life by constantly adapting to the market forces. 'Naan sonnadhayum seiven, solladhadhaiyum seiven' He may not have had any say in being cast as a villain in the initial phase of his career, but 1979's Bhuvana Oru Kelvi Kuri was one of the early markers of what followed for Rajinikanth in the next few years (and a career-defining collaboration with director SP Muthuraman). Although cast in supporting roles quite waywardly, films like Bairavi, Mullum Malarum, Priya, and Aarilirunthu Arubathu Varai featured the star in author-backed roles that brought out the performer in Rajini. While he had begun his action stints in the 70s, the superstar took cognisance of Amitabh Bachchan's success with the angry-young-man narrative in the '70s, and Billa began Rajinikanth's long, serious tryst with the action genre. ALSO READ: There's nothing Rajini-can't: When the Superstar flexed his acting chops The 1980s were all about cementing his position as the most-sought-after star, and Rajini churned out an average of seven films in a year in this decade. Action entertainers and family dramas continued to fill his repertoire, with the occasional oddball comedic turns in films like Thillu Mullu and Guru Sishyan working wonders in his favour. But in the 1980s, the superstar also took a strategic step that would eventually make him a household name in India — winning over the northern Indian filmgoers. In 1983, Rajinikanth made his Bollywood debut with the slick masala actioner Andhaa Kaanoon, a remake of Vijayakanth's film Sattam Oru Iruttarai. And Bollywood welcomed him with open arms. The southern storm took over North Indian theatres with many Hindi films, some remakes of his Tamil films (John Jani Janardhan) or other Tamil films (Dosti Dushmani), some shot simultaneously in Tamil and Hindi (Jeet Hamaari), and some were straight Hindi films (Meri Adalat, Bewafai, Asli Naqli, Hum). Once again, most of these Tamil and Hindi films were action dramas. But, the more surgical manoeuvres came in the 90s, when Rajinikanth solidified his stronghold over the coveted, elusive demographic — the Tamil families. The experience of working with a myriad of filmmakers in the 80s came in handy as the superstar began tailoring the formula behind the pulpy masala fiction that filmmakers of today carry as the bible of Tamil mass cinema. Take, for instance, the move to do Veera with director Suresh Krissna. As the director revealed in many interviews, any other star would follow up on a blockbuster, like their film Annaamalai, with a film like Baashha. Interestingly, Suresh had pitched Baashhaafter Annaamalai. However, the superstar insisted that they do something entirely different, like Veera, something that would temper audience expectations before doing yet another action drama like Baashha. The gamble worked, with all three performing well in theatres. From Dharma Durai and Baashha, to Padayappa and Muthu, and Annaamalai and Arunachalam, several Rajinikanth blockbusters spelt the formula the superstar wished to follow — these films were 'packaged' with the right masala cinema elements, had perfected Rajinikanth's image as the proletariat hero who rises above injustice, and found blockbusters on television due to their re-watch value. This followed well into the early 2000s, with Chandramukhiand Sivaji: The Boss, but the widening gaps between the films weren't just signalling an upscale in film production; it was time for India's greatest superstar to now go beyond the skies and cement his legacy. 'Yen vazhi, thani vazhi' And thus began the experiments, bolstered with technological advancements in filmmaking — if not for Rajini, who else could have done an Enthiranand followed it up with a Kochadaiiyaan? He had the backing of the industry to break into new horizons. The mammoth failure of Lingaa only drove the superstar more frantic and restless as he desperately had to capture the now-elusive audience who had been quick to dismiss him as old and obsolete. Thanks to Pa Ranjith, Rajinikanth used his platform to voice for the voiceless in Kabaliand Kaala, and yet, the naysayers dismissed them as unsuccessful attempts. Meanwhile, even 2.0, while shattering box office records, couldn't reinforce his legacy, which is when Rajini took a detour that continues to define his career — he was finally ready to test the limits of his superstardom. In the last five to six years, Rajinikanth's films have only grown grittier, one more serious and grounded than the other. Karthik Subbaraj's Pettawas slick and stylish, but had surprisingly underplayed Rajini's romance with Simran; the story was instead anchored to a gruesome revenge arc. Even in Darbar, a largely forgettable film, Rajini played a ruthless cop with anger management who brings wrath upon those who killed his daughter. Jailer, his most violent to date, has him behead men and even murder his own son. Vettaiyan, directed by TJ Gnanavel, was arguably the most sober Rajini film in a long time; an encounter specialist investigates a conspiracy in this solemn take against fake encounters. And so it's a circle come true for the man who started as a villain/anti-hero in bleak narratives. Even a failure like Annaatthe reinstated that he could no longer just saunter around heroines, drop a punchline and waltz through action scenes in slow-motion — the youth audiences of today want more from the man who could pack a screen even with an A-certificate film. Relentless, realistic action films are, after all, the trend today for big Tamil stars. They have enough filmmakers and heroes to do the family-friendly commercial masala flicks. A few years ago, you wouldn't expect the Rajinikanth to decapitate a man on screen. The industry forces would have compelled him to stay in the family-friendly lane. But this isn't your wildfire to contain. With blood splattered all over his face, he now smiles at you with death-bringing eyes to say that there's been a change in power. The superstar is now in charge, and Coolie — his first A-certificate film in 36 years, directed by a filmmaker with a penchant for fake blood and guns — would make it clear that Rajinikanth is the quintessential superstar who no longer needs to play safe to win over all. He is and he will be the superstar for all age groups, aarilirundhu aruvadhu varai.

Ahaan Panday reveals a shy side despite being an extrovert in a viral throwback video, WATCH
Ahaan Panday reveals a shy side despite being an extrovert in a viral throwback video, WATCH

Time of India

timean hour ago

  • Time of India

Ahaan Panday reveals a shy side despite being an extrovert in a viral throwback video, WATCH

Right now, Ahaan Panday is enjoying the success of his first Bollywood movie, 'Saiyaara,' which was helmed by Mohit Suri . A number of old videos and images of the actor have reappeared on social media due to the success of his movie. He is seen communicating with his fans during an Instagram Live in one of these old videos. He said in the video that although he is seen as being very extroverted, he also has a "shy" side. He talked about surprising his sister Alanna by going to meet her in Los Angeles in the video, and he admitted that he became really shy when he finally met her after a year and a half. A throwback video of Ahaan Panday, now going viral on his fan pages, showed him talking about meeting his sister Alanna after 1.5 years. He shared that he had surprised her a month ago by visiting LA for the first time in his life, adding that he had never been there before. Ahaan mentioned that he had missed her a lot, as they hadn't met in a year and a half. He explained that people might not realize he has two sides—one very extroverted and another quite shy. Describing the moment, he revealed that despite Alanna being his own sister, he felt shy upon seeing her after so long. Check out the video below! A video from Ahaan's past has previously gone viral on social media. Ahaan and his cousin Ananya Panday recreated a famous scene from Karan Johar's 1998 film 'Kuch Kuch Hota Hai' in an old video taken a few days ago. The cousins' acting abilities left fans in awe as they represented the beloved characters Rahul and Anjali, expressing their inner Shah Rukh Khan and Kajol! Remarkably, Ahaan rose to fame through Dubsmash videos, in which he regularly recreated iconic Bollywood scenes, years before making his Bollywood debut with 'Saiyaara.' At the box office, 'Saiyaara' is smashing records! Since its July 18 release, the film has brought in an incredible Rs 319.85 crore net in India, with an estimated global total of Rs 538.25 crore.

Why India's music labels are eyeing regional catalogues
Why India's music labels are eyeing regional catalogues

Mint

timean hour ago

  • Mint

Why India's music labels are eyeing regional catalogues

Tepid growth in paid subscriptions and increasing content creation costs are pushing music labels to step up consolidation efforts in the industry. Experts say this is a relatively easy way to expand libraries and improve market share. Entering newer realms brings an opportunity to collaborate with more artists, many of whom are well known in smaller, specific markets, improving their monetisation as well. Saregama's acquisition of NAV Records, a Haryanvi music catalogue, last month shows how players are looking at unlocking potential in newer languages. This June, Sony Music India announced a strategic joint venture with LA-based global entertainment firm The Hello Group (THG) to form THG India, designed to help Indian artists, particularly within the booming live music sector. Earlier, Warner Music India had formed partnerships with key regional players, including a majority stake in Divo, a South Indian music label, and a strategic alliance with Sky Digital, which specialises in Punjabi music. The company also acquired 26% of Global Music Junction, a dominant player in the Bhojpuri, Kannada, Gujarati, Haryanvi, and Oriya language markets and the music and entertainment subsidiary of JetSynthesys. Big companies like Saregama maintain 30-35% of all music releases in India, and partnering with regional labels can, in some cases, account for over 50% releases in the market for the specific language . 'These moves illustrate how regional strengths can be scaled through strategic partnerships. They have helped unlock value by streamlining rights and royalty systems, expanding digital distribution, and bringing under-leveraged catalogues into the streaming mainstream while maintaining their cultural identity," said Vivek Raina, managing director, Believe India, a global digital music company, that has acquired majority stake in south Indian label Think Music, Ishtar (formerly Venus Music) in the Hindi catalogue space, and the catalogue of White Hill Music. According to a recent Ficci EY media and entertainment report, the Indian music industry's revenue declined by 2% to reach ₹5,300 crore in 2024. The industry recorded 12 million paid streamers and 192 million free streamers in the year. The right tune Consolidation can act as a strong accelerator, especially for regional or mid-sized players that have valuable IP and deep local roots but limited access to infrastructure, global platforms, or capital, Raina added. Entertainment industry experts emphasize that organic growth for music players includes expanding artist rosters, creating original content, leveraging social media trends, optimizing playlists, and deepening audience engagement through live events or fan communities. Inorganic growth comes via acquisitions, mergers, catalogue licensing deals, and strategic partnerships with brands, streaming platforms, or tech companies. Organic methods build long-term brand equity and loyal audiences, while inorganic moves offer rapid scale, larger catalogues, and immediate market share gains. Both can be highly complementary — organic growth sustains creativity and authenticity, while inorganic strategies accelerate reach and revenue, enabling music labels and platforms to stay competitive in a fast-evolving industry. A senior executive at a leading label pointed out that as monetization from paid subscriptions plateaus and content costs continue to rise, few companies can afford to keep producing content on their own. Music labels such as T-Series, Sony Music, and Saregama, among others, have seen film soundtrack acquisition costs spike five to eightfold since the pandemic. Meanwhile, audio streaming platforms have lowered their pay rates (the amount paid per stream for a song) by about half over the past few months, as audience preferences shift away from music to other genres of entertainment, such as stand-up comedy and podcasts on YouTube. 'Capital expenditure goes up with rising content costs, and there is no way anyone can make more content on their own. This (acquisitions or joint ventures), on the other hand, is a one-time investment that allows you a stronger footprint in the market without having to create from scratch," the person said, adding that it automatically allows for better commercial terms from audio streaming platforms that music labels sell rights to. Such catalogue partnerships make sense for smaller labels which are heavily dependent on streaming and YouTube revenue and are unlikely to operate at scale, according to Mandar Thakur, CEO of Times Music. 'The former has dried up and the latter has begun to focus on long-form content. As long as you have a catalogue, you should make something out of it or the current wave of capital could go down," Thakur added. Consolidation in India's music industry could help smaller and national players by pooling resources, expanding catalogues, and increasing bargaining power with platforms, brands, and advertisers, said Gaurav Dagaonkar, co-founder and CEO of Hoopr, a music licensing platform. 'It can enable shared marketing, technology adoption, and data-driven strategies that might otherwise be costly for individual players. A unified catalogue offers better licensing opportunities, attracts larger deals, and improves discoverability for diverse music," Dagaonkar said. For artists, it can mean wider reach and fairer monetisation. That said, the trend can also have a downside. Bigger players entering regional markets can lead to monopolistic scenarios, inflating costs in the short term as they pay relatively higher sums to artists and then suddenly leading to correction. While challenges like maintaining creative diversity remain, strategic consolidation could be a viable path forward, fostering competitiveness, scalability, and sustainable growth in an increasingly globalised and digital-first music ecosystem, Dagaonkar added.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store