Six points for splits

Director Priyadarshan is one of the most prolific and successful Bollywood film-makers. Ironically, he doesn't even know how to speak Hindi.

In fact, he was never inclined towards films and wanted to be a cricketer. However, he had an eye injury due to which his cricket hopes were dashed.

It was by default that he started his directorial career in Malayalam cinema. He then forayed into Bollywood with meaningful films such as Gardish and Virasat.

His fortunes took a sharp turn when he concentrated on making comedies such as Hera Pheri, Hungama, Hulchul, Garam Masala, Malamaal Weekly, Bhagam Bhag and Dhol.

He became the tsar of entertaining cinema, his latest comic flick being Mere Baap Pehle Aap, a remake of the Malayalam hit Ishtam, starring Paresh Rawal and Akshaye Khanna.

It is the adoption of a set pattern of film-making that has made Priyadarshan so successful. Here's an analysis of Priyadarshan's six-point winning formula:

Malayalam remakes

Priyadarshan has made a fortune by remaking Malayalam films, both his own and others'. He began his Bollywood stint with Gardish, a remake of his blockbuster Kireedam.

His string of Malayalam remakes includes Hera Pheri (Ramji Rao Speaking), Hungama (Poochakkoru Mookkuthi), Hulchul (Godfather), Garam Masala (Boeing Boeing), Chup Chup Ke (Punjabi House), Bhagam Bhag (Mannar Mathai Speaking) and Dhol (In Harihar Nagar).

He sticks to a tried-and-tested formula rather than experimenting with the new.

Slapstick

Priyadarshan relies heavily on slapstick — probably the oldest style of humour — despite the fact that film-makers are now turning to subtle and intellectual humour.

Priyadarshan admits that his sense of humour draws inspiration from Charlie Chaplin and says he considers himself lucky to have an audience that still laughs at someone slipping on a banana peel, which is, to put it plainly, nothing but buffoonery.

His serious, melodramatic Kyun Ki … was given a thumbs down by the audience, which reinforced the fact that if it's a Priyadarshan film, it has to have loud comedy in it.

The Paresh Rawal factor

A Priyadarshan film seems to be incomplete without Paresh Rawal in it. Rawal has played a significant role in Priyadarshan's success story and the character he plays in Hera Pheri, Babu Rao, is etched in the audience's mind.

Rawal always manages to steal the limelight with his impeccable comic timing. Priyadarshan also always ensures that Rawal has a meaty role in his films.

Dhol was one of those rare Priyadarshan films which did not feature Rawal. However, this was simply because there was no substantial role in the film for him, nothing that could complement his calibre as an actor.

Content-driven plot

Priyadarshan's films always focus on content rather than on stars.

Hera Pheri was made when none of the stars — Akshay Kumar, Suniel Shetty and Paresh Rawal — were hot property in Bollywood.

It was a similar case with Hungama, which had a weak star cast comprising Aftab Shivdasani, Akshaye Khanna and Rimi Sen.

Malamaal Weekly worked despite starring middle-aged Rawal and Om Puri as the lead actors.

All these films clicked primarily due to the utterly hilarious situations they portrayed. Priyadarshan opts for talented actors rather than big stars.

This also has another benefit: It helps keep in check the film's budget, ensuring quick recovery of investments.

One hit number

Priyadarshan doesn't have a great ear for music but ensures there is at least one hit dance number which can be used as a promotional video for the film.

It was Tun Tunak for Hera Pheri, Kiss Me Baby for Garam Masala, Signal for Bhagam Bhag, Dhol Bajake for Dhol and Hare Krishna Hare Ram for Bhool Bhulaiyya. This definitely helps the film get a strong opening at the box office.

Chaotic climax

The climax sequences in a Priyadarshan films almost always involve the entire star cast running behind one other like headless chickens.

Hungama, Hulchul, Bhagam Bhag or Malamaal Weekly are ample examples of the fact.

Priyadarshan believes in making each person in his audience leave the cinema hall with a smile on the face and such comic climaxes are his way of ensuring it.

And it also means that his producers laugh all the way to the bank as well.

— Abdulla Mahmood is a UAE-based freelance writer