Nawazuddin Siddiqui, renowned for his role as Faizal Khan in Anurag Kashyap‘s Gangs Of Wasseypur (GOW), recently made headlines with his critical remarks about film franchises. During the promotions for his upcoming film Costao, arriving on Zee 5, Siddiqui addressed the persistent rumors surrounding a potential third installment of GOW. When asked about the project, he candidly stated in an interview with Mid-Day that neither he nor Anurag Kashyap would be involved in creating GOW 3, despite numerous offers and suggestions to reprise his iconic character.
Siddiqui’s comments have sparked a broader conversation about the state of contemporary film franchises. He highlighted how many continue to be produced merely to capitalize on a brand’s existing success, often resulting in subpar content. Siddiqui’s observations resonate with Salman Khan‘s Tiger franchise, notably Tiger 3, which faced criticism for its lack of compelling storytelling. Originally launched with Kabir Khan’s Ek Tha Tiger, the series has drawn attention for its diminishing quality, especially since Kabir Khan departed after the first film, doubting the necessity of a sequel.
The trials faced by Salman Khan’s Tiger films are not isolated. Similar criticisms have been directed towards Singham Again and Bhool Bhulaiyaa 3, where audiences question the originality and necessity of these sequels. The challenge lies in creating something novel without simply repeating familiar narratives. Franchise films often face the risk of losing their essence when stretched to fit a larger universe with little new material to explore.
Siddiqui’s deliberate choice to not resurrect Faizal Khan underscores a crucial point: some stories are best left untouched, preserving their integrity by not succumbing to the allure of an unnecessary extension. His thoughtful stance encourages filmmakers to pursue fresh and original content rather than rehashing the past, urging more to consider if a story truly merits continuation.
Salman Khan’s Tiger series serves as a cautionary tale of how subsequent installments can dilute a once powerful narrative. Despite Salman’s famous line, “Jab tak Tiger Mara Nahi, Tab Tak Tiger Haara nahi,” the film struggled to present something meaningful for fans to resonate with. Siddiqui’s insight offers a poignant reminder: thriving on the success of a brand should not overshadow the importance of quality storytelling.
For audiences and industry professionals alike, Siddiqui’s critique provides a moment of reflection on the cinema’s current landscape. As more filmmakers and actors prioritize genuine storytelling over safe bets, there is hope for a resurgence of innovation within the industry, giving rise to original narratives that captivate and inspire without leaning on prior triumphs.
The discourse around Salman Khan’s Tiger franchise criticism, fueled by insights from industry figures like Nawazuddin Siddiqui, emphasizes the need for caution when expanding cinematic universes. As the conversation evolves, it invites the industry to weigh creativity against commercial habits, suggesting that the future of film lies in the balance of integrity and ingenuity.
