Post-pandemic, Bollywood seemed obsessed with big-budget, larger-than-life action extravaganzas or niche films. Yet, 2025 quietly rewrote the script, proving that what audiences truly miss are passionate love stories. The year began on a surprising note with the re-release of Sanam Teri Kasam, which turned into an unexpected success. Soon after, Saiyaara emerged as a blockbuster, and the Diwali release Ek Deewane Ki Deewaniyat also turned out to be a profitable venture. The common thread binding all three films is unmistakable – each is a love saga anchored by soulful, enduring music, and Pan-India content.
EXCLUSIVE: On Raja Hindustani’s 29th anniversary, Dharmesh Sheela Darshan hints at his much-awaited return to filmmaking: “My next film will have at least 5 good songs”; speaks highly of Saiyaara, Ek Deewane Ki Deewaniyat’s success: “In cinema, clock never turns back. But for the first time, audience is insisting, ‘PLEASE turn the clock back’”
It is in this context that Raja Hindustani, completing 29 years, feels especially significant. Bollywood Hungama spoke to its highly successful director, Dharmesh Darshan, whose film continues to be remembered for its chartbuster soundtrack, the powerful performances of Aamir Khan and Karisma Kapoor, and several beautifully executed, emotionally charged sequences. With romance and melodies once again ruling the roost, there is renewed demand for Dharmesh Darshan’s comeback, after his long self-chosen exit. After all, Raja Hindustani was a huge blockbuster and his other films like the classic Dhadkan, along with Lootere, Bewafaa, Mela, etc., were not only profitable but also celebrated for their music. They are also highly relevant today and enjoy huge viewership from viewers of all ages on digital platforms. Two years ago, in an exclusive conversation with Bollywood Hungama, Dharmesh Darshan revealed that he was repeatedly offered Dhadkan 2, but emphasized that he would return to direction only when he was fully satisfied with the right script, finds the right music and is able to do cinematic justice to the sequels.
Dharmesh Sheela Darshan recently spoke to Bollywood Hungama on 29 years of Raja Hindustani and he said, “I have said this in the past with conviction that when music is back, I’ll be back (smiles).”
He spoke highly of the success achieved by Saiyaara and Ek Deewane Ki Deewaniyat and the lessons the industry definitely needs to learn, “Ek Deewane Ki Deewaniyat’s songs have a certain grip and madness in them. That further added to its box office collections. Saiyaara, directed by my younger brother Mohit Suri (first cousin), was directorially strong and the infrastructure of the production was top-notch. These romantic films have worked Pan-India and also Overseas. The concept of single-screens and multiplexes has changed and both have miraculously merged as nowhere else in the world. Yet, even the multiplexes have put up big numbers for these movies. The audience has thus proved that it is thirsting for good, relatable and non-pretentious content. They are also saying that enough of artificial perception and enough of niche films; or else, they will just not purchase tickets.”
As for the criticism that these aforementioned films got, Dharmesh Sheela Darshan explained, “Of course, when you make a truly popular, commercial film and reach out to such a huge, eclectic population, it’s natural that there would be certain differences of opinion. But when done correctly, they turn out to be commercial classics.”
Dharmesh said that he was concerned with the state of music and the success of the aforementioned films has given him hope, “Even bad songs, for whatever reasons, get marketed well. But ironically, the films don’t open to desired numbers as the music had actually not worked at all. So, the whole system was made so bizarre. But long live my beloved Indian cinema. The truth has risen above all, thanks to its blessed longevity. When my next film releases, I commit that there will be at least 5 terrific songs, as always, complemented on celluloid and power-packed with Pan-India male and female performances from actors, whether new or seasoned.”
He also said that the audience wants the golden age of the 90s and 2000s back and the production powerhouses, in their own interest, should respect their demand, “In cinema, the clock never turns back. But for the first time, the audience is insisting, ‘Please turn the clock back’. Of course, a film still needs to be made with modern technology, needs modern screenplay writing, Pan-India noticeable dialogues that can become memes for all ages, exemplary and ageless performances, relevant costuming and concentrated applied infrastructure backing them up, irrespective of whether it’s a big production house or a small but focused banner coming out of nowhere, as recently proved. The reason why my films are still relevant even on OTT is that they don’t look jaded and youngsters in huge numbers are consuming these films. Moreover, my films were never toxic. I see people writing on the internet, ‘This generation can never feel the pain and healthy intensity of Dev in Dhadkan because they go for Animal or Kabir Singh’. However, this generation actually yearns for sincere, honest, full-on committed energies, not necessarily frivolous romantic storytelling. That’s why, I repeat, a film like Saiyaara, which shows the female protagonist in a modern pure vision, got so highly connected agelessly.”
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More Pages: Raja Hindustani Box Office Collection
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