What makes a sequel click? Lessons from Malayalam’s most iconic franchises

Movie franchises have always been an inevitable part of world cinema. Some sequels and franchises have acquired cult status and continue to be loved by audiences. Interestingly, it's a Malayalam movie franchise that holds the record for the most number of sequels in the world. The CBI series, written by S. N. Swamy and directed by K. Madhu, has made history.

The original movie, 'Oru CBI Diary Kurippu', was a massive box office success, prompting the makers to release a sequel. While box office performance is not the only measure of a movie’s quality—plenty of poor films have raked in profits—'Oru CBI Diary Kurippu' wasn’t just a film that got lucky. Its backbone was a well-written script.

K. Madhu is not one for gimmicky shots or over-the-top sequences. He builds atmosphere using simple but effective visual techniques. His visual treatment did justice to S. N. Swamy’s script, without compromising its integrity. The screenplay of 'Oru CBI Diary Kurippu' is often considered textbook material for film students. The strategic placement of scenes and sharp dialogues make the script a masterclass in structure and tone.

Malayalam detective films have often suffered from artificiality and dramatic excess. But Swamy proved that natural storytelling can be just as powerful in this genre. It’s this quality that helped cement the CBI series in cinematic history.

The iconic CBI series
The overwhelming success of 'Oru CBI Diary Kurippu' led to the immediate release of its sequel, 'Jagratha', in 1989. One advantage of investigative thrillers is that sequels don't need to continue the original story. Each instalment can feature a new case, with only the recurring characters—Sethurama Iyer and his team—connecting the dots across the franchise. This format offers creative freedom to both writer and director.

However, 'Jagratha', though a good film, failed to make a splash at the box office. Fifteen years later, the third film, 'Sethurama Iyer CBI', released in 2004, lacked the structural brilliance of the original, yet managed commercial success. The fourth film, 'Nerariyan CBI', came out in 2005 and received a great theatrical response despite not matching the original’s quality.

While comparisons are inevitable, each film was strong enough to impress audiences. However, the fifth instalment, 'CBI 5: The Brain' (2022), was widely considered a disappointment. It failed to adapt to the evolving genre and was criticised for its outdated narrative style. Still, 'Oru CBI Diary Kurippu' remains one of the finest screenplays in Malayalam cinema. Alongside it, 'Utharam' by M. T. Vasudevan Nair, 'Kariyilakkattu Pole' by Padmarajan, and 'Ee Kanni Koodi' and 'Yavanika' by K. G. George also deserve mention for their narrative excellence.

'Nadodikkattu' and 'Kireedam': The unforgettable sequels
The charm of 'Nadodikkattu' lies in its ability to deliver humour while portraying the harsh realities of life. Its sequel, 'Pattanapravesham', was also a major success. Though it lacked the critical acclaim of its predecessor, it performed well at the box office. The third part, 'Akkare Akkare Akkare', directed by Priyadarshan, leaned into slapstick comedy and international settings to appeal to a wider audience.

All three films are cherished by Malayali viewers for their sharp writing and standout performances.

Similarly, 'Kireedam', written by Lohithadas and directed by Sibi Malayil, is hailed as one of the best-crafted screenplays in Malayalam cinema. The film’s strength lies in its emotional depth, visual simplicity, and restrained storytelling. Despite being overlooked during awards season, it has since been recognised as a cinematic milestone, featuring in "Best of Malayalam Cinema" lists by media houses like Manorama and Mathrubhumi.

Its sequel, 'Chenkol', though a box office success, lacked the emotional nuance of 'Kireedam'. It was weighed down by excessive melodrama and failed to uphold the believability of its characters. Thilakan’s character, Achuthan Nair, is a case in point—his transformation in 'Chenkol' felt unconvincing and regressive.

Perfection is key
'Devasuram' and its sequel 'Ravanaprabhu' are another pair worth examining. While the latter was a commercial success, it lacked the cinematic finesse of the original, directed by veteran I. V. Sasi. 'Devasuram' is regarded as a cult classic, whereas 'Ravanaprabhu' is remembered more for Mohanlal’s stardom than for its storytelling.

Jeethu Joseph’s 'Drishyam' was a tightly woven thriller that relied on emotional gravity rather than cinematic gimmicks. Its sequel, 'Drishyam 2', took a more intellectual route, focusing on strategic plot manoeuvres. Although it remained engaging, it didn’t resonate on the same emotional level as the original.

Iconic franchises
Mani Ratnam’s 'Ponniyin Selvan' parts I and II showcased his mastery over epic storytelling. Both parts were cinematic achievements in their own right. Similarly, S. S. Rajamouli’s 'Baahubali' films are visually extravagant and technically impressive. Though lacking in narrative depth, they remain hugely entertaining spectacles.

Rajamouli, often dubbed the showman of Indian cinema, thrives on grandeur. His films, including 'Eega', showcase his technical brilliance. The 'Baahubali' franchise, with its mass appeal and dramatic flair, cannot be compared part-to-part; each film delivers in its own style.

The same goes for the Kannada blockbuster 'KGF'. While the first part was a pan-India success, 'KGF Chapter 2' shattered records globally. Its stunning production values made it a cinematic event.

'Ramji Rao Speaking' and its sequel 'Mannar Mathai Speaking' were both box office hits. The latter, inspired by Hitchcock’s 'Vertigo', delivered solid entertainment but lacked the cult status of the original, which had its roots in the English TV film 'See The Man Run'. 'Ramji Rao Speaking' remains iconic for its grounded storytelling and relatable humour.

'In Harihar Nagar', directed by Siddique-Lal, featured a strong script and memorable performances. Its sequels, '2 Harihar Nagar' and 'In Ghost House Inn', were moderate successes but lacked the charm and tight scripting of the original.

Sequels that slipped
Some sequels failed to live up to their iconic originals. 'Thirakalkkappuram', a sequel to 'Chemmeen', was a critical and commercial failure. 'Kilukkam Kilukilukkam' also failed to recreate the magic of 'Kilukkam' and is barely worth a mention.

'Sagar Alias Jacky Reloaded', despite having Amal Neerad at the helm, couldn’t match the charisma of 'Irupatham Noottandu'. Likewise, 'Padmasree Bharat Dr Saroj Kumar', a spin-off from 'Udayananu Tharam', fell flat. The latter, with its sharp screenplay and direction, remains a well-crafted satire on the film industry.

Resurrection of the sequel
Interestingly, 'Aadu' (starring Jayasurya) flopped at the box office but found success through TV and YouTube, leading to a sequel. 'Aadu 2' became a surprise hit, marking a rare case where a failed film's sequel triumphed. Though both films are loved for their humour, they aren’t considered cinematic masterpieces.

'Akasha Ganga' and its sequel 'Akasha Ganga 2' were modest horror films, with the original enjoying more popularity.

'Aavanazhi', a mass entertainer starring Mammootty, led to 'Inspector Balram' and eventually 'Balram vs Tharadas'. While 'Aavanazhi' was a roaring success, the third instalment underperformed. None of the films, despite commercial returns, are considered I. V. Sasi’s finest.
'Uppukandam Brothers', directed by T. S. Suresh Kumar and led by Jagadeesh, featured a cast that included Captain Raju, Babu Antony, and Mohanraj—but the rest is a story for another time.

Small-budget sequel
sKaloor Dennis’s commercial scripts gave films like 'Mimics Parade' a major boost, turning it into a hit. Its sequel 'Kasargod Khader Bhai' also fared well, but the third instalment 'Again Kasargod Khader Bhai' failed to impress.

Though 'Geethanjali' brought back Dr. Sunny from 'Manichitrathazhu', it didn’t feel like a true sequel and underwhelmed audiences. 'Kadathanadan Ambadi', pitched as a follow-up to 'Othenante Makan', also flopped. Alleppey Ashraf’s sequel to 'Ninnishtam Ennishtam' met a similar fate.

Achanurangatha Veedu, based on the Suryanelli case, featured a stellar performance by Salim Kumar. But its sequel 'Lisammayude Veedu', written by Babu Janardhanan, couldn’t live up to it.

'For the People' was a theatre hit, but its sequels 'By the People' and 'Of the People' bombed. 'Pretham 2' didn’t match the original’s charm, and while 'Honey Bee' became a sleeper hit, its sequel fell flat.

Many of these sequels were made without weighing the lasting impact of the original. A strong story and solid execution are essential — just riding on a title isn’t enough. In fact, weak sequels can dilute the original’s reputation.
'Empuraan', however, raised the bar with its scale and technical finesse. Though some feel 'Lucifer' had a tighter script, no recent Malayalam film has matched 'Empuraan' in terms of pre-release hype or theatre pull — making it a rare sequel success.