It’s not every day a project like Housefull comes knocking on your door and for Tarun Mansukhani, the timing couldn’t have been more perfect. After years away from the director’s chair, the filmmaker behind movies like Dostana and Drive makes a return with a franchise known for its over-the-top humour and chaotic ensemble. Moreover, Tarun brings a surprising new layer: suspense. In a conversation with Indulge, the director opens up about reinventing the franchise and the challenges that came with it.
How does it feel to carry forward a legacy like Housefull?
Firstly, to be given this responsibility despite not having made a film in a while—was a huge threshold to cross. There’s such a massive fan following for this franchise, and the expectation is that the film needs to be something people can enjoy thoroughly in theatres. I believe I’ve managed to achieve that — not just in terms of box office numbers, but because my producers, actors, and crew are happy.
How have you maintained the soul of the series while incorporating your own directorial style?
I think the soul has been maintained through our core trio of three wonderful boys — who go through all the madness and chaos that the franchise is known for. We’ve kept that essence alive throughout the film.
My style came in when I brought in the murder mystery. I knew I wanted to mix two genres, which isn’t easy because they’re so different. But I think I’ve managed to walk that tightrope well.
My voice came into the film right from the writing stage. As a director, you start seeing your characters in your own way. But having watched all the Housefull series (1, 2, 3, and 4) multiple times, I also knew exactly where I wanted the rest of the cast to be.
The idea behind alternative endings—how did that come about?
That’s something Sajid sir had been sitting on for the last 30 years. He’d been hoping to make a thriller where he could finally use that idea. So when he first narrated the film to me and mentioned it, I was instantly excited. It’s a very detailed approach — you have to shoot it in a specific way, make sure millions of people see it without spoiling the twists, and ensure the audience doesn’t walk out thinking, ‘How did that ending even make sense?’ That challenge was really exciting to me, and I think it’s paid off well.
How would you say the rise of OTT culture alters cinematic experiences like this?
It’s not just about screen size or sound—it’s about the community experience. When you watch a comedy with a large group, and everyone’s laughing together, having a good time with a popcorn bucket in hand—that shared emotion, whether it’s laughter or tears, just can’t be replicated at home or in an office. That community feeling is what makes the theatrical experience special.
What would you say is the challenging part of having such an A-list ensemble on the same set?
The challenging part was not having 19 megastars on my set; it was keeping 19 characters alive! You don’t want the audience to get so mesmerised by the actor that they lose track of the character or the story.
For me, it was crucial to hold all 19 characters together—with their backstories, forward arcs, suspicions, and all those layers. The stars themselves were never a problem—it was about doing justice to every character.
Where do you see comedy heading in Bollywood today? Has the sentiment around the genre changed?
I think Housefull 5 has already proven that comedy is still very much in demand. In future, we’re going to see a lot more comedies, more family entertainers.
We tend to make what works at a given time. When action films are doing well, everyone starts making action. Then the trend shifts — suddenly it’s comedies, then love stories. Right now, we’re sailing in a bit of rough water when it comes to comedies, but that’s part of the cycle. There’s no attitude shift against any genre. If something works and audiences respond, why wouldn’t we keep making it?