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90s stars are making a comeback, but is nostalgia really doing the heavy lifting?

Дата публикации: 27-08-2026 05:40:55

After a long lull, stars like Emraan Hashmi and Sunny Deol are back at the box office. Experts say nostalgia and familiar franchises help, but the right story, character and genre ultimately make a comeback click.

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Lata Jha

3 min read27 Aug 2026, 11:10 AM IST

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Emraan Hashmi’s Awarapan 2 had earned nearly ₹140 crore at last count.

Summary

After a long lull, stars like Emraan Hashmi and Sunny Deol are back at the box office. Experts say nostalgia and familiar franchises help, but the right story, character and genre ultimately make a comeback click.

Several stars popular in the 1990s and early 2000s, including Emraan Hashmi and Sunny Deol, have seen a resurgence at the box office after a long run of underwhelming releases.

Hashmi’s Awarapan 2 had earned nearly 140 crore at last count, while Deol’s recent hits include Gadar 2 and Border 2, which made 525.45 crore and 341.70 crore, respectively.

While some point to these actors’ ability to finally cater to their core fan bases with films that play to what they are best known for, others believe the comeback is more property-led than star-led, and largely limited to sequels and established franchises.

Such films build on older hits that have long proved their popularity, particularly on satellite television, while their music continues to generate nostalgia. In other industries, particularly the south, older stars continue to deliver hits, although their box-office pull has diminished considerably and theatrical earnings have largely hit a ceiling.

Old stars, new run

“There is clearly a growing interest in these established stars making a return to the big screen, but what really drives that interest is the context of the comeback. When a familiar star returns in a strong character, franchise or genre that resonates with audiences, it can create a very strong theatrical pull,” said Ashish Saksena, chief operating officer-cinemas, BookMyShow.

A similar trend was seen in Bobby Deol’s resurgence with Animal, and even Rani Mukerji’s Mardaani franchise, according to Saksena.

“The opportunity, therefore, is not simply about a star coming back after a gap. It is about finding the right story, the right character and the right context for that comeback. The familiarity of the star can certainly drive initial curiosity and interest, but ultimately, it is the content that determines whether that interest translates into a successful theatrical run,” Saksena added.

For a long time, several of these stars tried to cater to an up-market, elite audience. But with their recent films, they have been able to give viewers what they are best known for, according to film producer and distributor Yusuf Shaikh, also founder and chief executive of low-cost theatre chain Janta Cinema.

“Add music and nostalgia to it and there is an immediate connection. Actors fail when they forget what their core audience expects from them,” Shaikh said.

Deol's other recent release, Batwara 1947, a period drama, has failed to set the cash registers ringing.

Nostalgia works

To be sure, familiarity and nostalgia have always been strong drivers of audience interest, according to entertainment industry experts.

When there is an existing connection with a character, franchise or even a particular genre that a star is identified with, it creates anticipation around the actor’s return. Music adds another layer to that recall, particularly for films with a strong musical identity.

In the case of the first Awarapan, film producer Shariq Patel said the movie has clocked considerable viewership on satellite television over the years and built its own fan following, which certainly helped the sequel.

“Sequels and franchises are definitely playing a part here. People flock to see movies when they are familiar with an IP,” said Kamal Gianchandani, CEO, PVR Pictures Ltd and president, Multiplex Association of India (MAI).

He added that both older audiences who watched the previous film and younger viewers who may have discovered it on streaming are contributing to the resurgence of these stars.

More than recall

That said, several industry experts point out that while nostalgia can get audiences interested, it cannot sustain a film on its own.

Calling the comeback role- and property-led rather than star-led, Rohit Dalmia, chairman and managing director, CineNow, an entertainment financing platform, said successful comebacks combine a familiar star with a character, franchise, genre or soundtrack with which audiences already have an emotional relationship.

“A good actor with a solid body of work impacts generations. Their films never really vanish from the public memory thanks to OTT streamers, reruns on TV and YouTube. Any cinema aficionado will be aware of their films which broke ground in earlier decades and there is a longing among the audiences to see films made with conviction,” film producer Anand Pandit said.

About the Author

Lata Jha

Lata writes about the media and entertainment industry for Mint, focusing on everything from traditional film and TV to newer areas like video and audio streaming, including the business and regulatory aspects of both. A journalist for over a decade, she has extensively covered relatively underexplored aspects of what is seen as a glamorous business—from the death of single-screen cinemas in small towns to unreasonable star fees and demands eating into film production budgets and eventually inflating ticket rates. She was early to spot what are now established and ongoing trends such as the slowdown in the OTT business and the surge in the popularity of southern movies, which she continues to spotlight. A regular writer of in-depth, long-form features, her best-read work ranges from critical profiles of companies like Netflix, JioHotstar and Prime Video to takes on sexual harassment and mental health in the entertainment industry. She spends a lot of time watching content, particularly the old-school way in movie theatres, to make sure her writing is embedded in on-ground experience, since she believes the best stories often come from the travesties of directly engaging with and paying for the content that she writes on, and not from celebrity tweets, company releases or listings. A graduate of the Columbia School of Journalism, she has also authored a book on the business of entertainment.

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