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‘Drishyam 3 won’t be like Drishyam 1 or 2,’ reveals Jeethu Joseph; opens up about his approach to creating the franchise: ‘My focus is only on…’

One of the major reasons behind the enduring appeal of the Mohanlal-led Drishyam franchise may be writer-director Jeethu Joseph's reluctance to play to the gallery or make decisions aimed merely at satisfying the hype.

Jeethu Joseph opens up about his vision for the Mohanlal-led Drishyam franchise.Director Jeethu Joseph with Mohanlal on the sets of Drishyam. (Credit: Facebook/@JeethuJosephOnline)

Arguably the most influential and impactful Indian film franchise of the 21st century, Jeethu Joseph’s Drishyam is all set to get a third instalment. Starring Malayalam superstar Mohanlal alongside actors Meena, Ansiba Hassan, and Esther Anil in lead roles, Drishyam (2013), the crime thriller that marked the birth of the eponymous franchise, has already been remade into six languages, including Sinhala and Mandarin, with all the editions emerging as commercial successes. Now, the movie is also gearing up to receive Hollywood and Korean remakes, underscoring the significant impact the film has had globally.

In 2021, Jeethu returned with a sequel titled Drishyam 2, which also became as big a phenomenon as the first part, if not more, winning praise from all quarters. Subsequently, the Hindi, Telugu, and Kannada remakes of the 2013 movie also got sequels inspired by the story of the Malayalam Drishyam 2, rendering it a pan-India phenomenon. Now that the writer-director is busy with Drishyam 3, which went on floors in late September, expectations are sky-high to witness what new predicaments Georgekutty (Mohanlal) and his family will have to face this time, as their biggest secret is no longer “buried,” albeit it’s been supposedly “charred away,” and how/if they will find their way out of the labyrinth once again.

While there have been many instances when sequels did not live up to expectations or matched the quality of their predecessors, resulting in the franchises themselves losing their reputation, Jeethu Joseph has so far managed to safeguard Drishyam’s good name. One major reason behind this may be his reluctance to play to the gallery or make decisions aimed merely at satisfying the hype. Instead, he seems always determined to tune out such noises and follow the organic style that made the OG Drishyam iconic.

Jeethu Joseph and Mohanlal's Drishyam 3 went on floors in late September. Director Jeethu Joseph with Mohanlal during the puja ceremony of Drishyam 3. (Credit: Facebook/@JeethuJosephOnline)

“I’ve created only one franchise so far, that’s Drishyam. Nonetheless, it’s an organic approach that I have used there. That was the case with Part 2, and it will be the same with Drishyam 3 as well,” he shares during an exclusive interview with SCREEN.

He adds, “Many people, after Part 3 was announced, commented that, ‘Drishyam 2’s script was amazing, and we expect something better than that.’ I replied to such remarks in some interviews that I’m not consciously trying to write a ‘better-than-Drishyam 2’ script just for the sake of it. My focus is only on Georgekutty and his family, and on what could have happened in their lives over the six or seven years since Part 2.”

Watch SCREEN’s exclusive interview with Jeethu Joseph here:

Attesting that, much like the previous instalments, he developed Part 3 also organically, Jeethu states, “In that, I’ve obviously retained some of Georgekutty’s fundamental character traits. Those are essential because Georgekutty has certain peculiarities. If we don’t maintain that, the character will be lost. The case is the same for everyone. Rani (Meena) has her own character, and so do the kids, Anju (Ansiba) and Anu (Esther). However, the children’s characters are the ones that keep evolving. Anu was just a child when the incident (the murder of Varun Prabhakar) occurred, but now she has grown up.”

Offering more glimpses into how he developed even the world around Georgekutty and his family naturally, giving the people also a progressing arc, Jeethu Joseph brings our attention to how the same locals who once supported them gradually grew envious — as shown in Part 2 — as time passed and the family began to build stable lives. “The surroundings and the people have changed, too. In the first part, the people around him believed Georgekutty was innocent. In Part 2, however, many of them were like, ‘No, there’s something else.’ Their view changed. I have employed a similar organic approach in Part 3 as well. It was never like, ‘Since Part 2 became a hit, I’ll do so and so to make Part 3 a hit.’ For the Drishyam franchise, my approach is based on what could have happened within that family and their lives. You’ll understand that when Part 3 comes. Drishyam 2 wasn’t similar to Drishyam 1; and Drishyam 3 won’t be like Drishyam 2,” he adds.

Anandu Suresh is a distinguished Deputy Copy Editor at The Indian Express Online, where he serves as a leading voice in cinematic critique and industry analysis. With over six years of rigorous experience in the media landscape, he has established a reputation for incisive, long-form commentary that bridges the gap between commercial cinema and art-house narratives. Experience & Career Anandu’s professional journey is rooted in a deep academic and practical foundation in the humanities and communication. He holds a Bachelor's degree in English Language and Literature and a PG Diploma in Journalism and Communication. Before ascending to his current editorial leadership role at The Indian Express, he honed his skills on the news desk of The New Indian Express in Hyderabad. His career is marked by a transition from core news operations to specialized cultural journalism, allowing him to bring a structured, news-oriented rigor to the entertainment beat. Expertise & Focus Areas While Anandu’s portfolio spans the global cinematic landscape, he is widely regarded as an expert in Malayalam Cinema. His unique approach to film criticism is defined by: Cinema Anatomy: A dedicated column where he deconstructs the structural layers of films to uncover deeper sociopolitical meanings. Marginalized Narratives: A commitment on-ground and analytical reporting on how cinema represents or fails marginalized communities. Critiquing "Performative Wokeness": Rigorous analysis of modern filmmaking trends, identifying the difference between authentic representation and superficial social commentary. Multimedia Discourse: Actively fostering continuous public dialogue on cinema through digital platforms and archival research. Authoritativeness & Trust Anandu Suresh is a trusted authority in the film journalism circuit, frequently providing exclusive coverage from major international festivals like the International Film Festival of Kerala (IFFK). His work goes beyond standard reviews; he is known for holding the industry accountable, as seen in his extensive reporting on sensitive issues like the 2017 Kerala actress assault case and the legal complexities surrounding film credits. By prioritizing "Journalism of Courage," Anandu ensures his readers receive commentary that is not only intellectually stimulating but also ethically grounded and factually robust. ... Read More

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