Composer Sachdev Built One Score For Bollywood's Two-Part 'Dhurandhar' Films

Composer Shashwat Sachdev scored "Dhurandhar" as a single unified work before the filmmakers split the material into two releases during post-production. The decision to divide the project after music composition was complete shaped how the score functions across both films, with tracks like "FA9LA" carrying thematic continuity from the December 2025 first installment through the March 19, 2026 sequel.

Sachdev worked from one sprawling script with one protagonist and one emotional arc when he began composing for the "Dhurandhar" films. Directors Aditya Dhar, Jio Studios, and B62 Studios shot the material as a single integrated project before deciding during post-production to release it as two parts. "Because the material was written as one script, the music naturally came from one unified idea," Sachdev told Variety on April 9. "We were never composing with the intention of dividing it into two films. It was always one emotional journey, one sonic travel."

The first "Dhurandhar" film, starring Ranveer Singh, released in December 2025. "Dhurandhar: The Revenge," which continues the story of an undercover Indian intelligence agent infiltrating criminal syndicates in Karachi, became one of the biggest Indian box office hits of all time following its March 19 release. Three tracks from Sachdev's score—"Aari Aari," "Jaiye Sajna," and "Jaan Se Guzarte Hai"—charted on Spotify India.

For the sequel, Sachdev expanded the orchestration with a larger ensemble and a 100-piece choir, though he emphasized the expansion served emotional depth rather than spectacle. "The real expansion was in detail," he said. "The choir wasn't just for grandeur, it colored emotion. So the music became more expansive, but also more internal." Multiple composers and artists contributed alongside Sachdev's overarching vision, with T-Series acquiring music rights.

Sachdev rejected the notion that streaming performance drives his composition choices. "It is something we are aware of, but we don't let it control us," he told Variety. "We want the audience to enjoy the music outside the film as well. So we think of it as songwriting too, not just score. But we don't design repeat value. If the music is honest, people return to it naturally."

Context

Indian film music operates under dual pressure: it must function as narrative architecture within the film while also performing as a standalone streaming product. This tension has reshaped how composers approach soundtracks over the past decade, with successful songs often generating revenue streams independent of box office performance. Sachdev's approach—building a unified score that later accommodated a two-film structure—represents an alternative strategy: composing for emotional coherence first, then allowing distribution decisions to follow.

The "Dhurandhar" duology follows a trend of Indian filmmakers splitting large-scale projects into multiple releases. However, most such decisions occur before scoring begins, allowing composers to design distinct musical identities for each installment. Sachdev's situation was reversed, requiring him to maintain thematic continuity across a division that occurred after the music was complete.

What's Next

The commercial success of "Dhurandhar: The Revenge" and the chart performance of its tracks will likely influence how Indian studios approach similar large-scale projects. If unified scores that span divided releases continue to generate both critical and commercial returns, producers may increasingly shoot integrated material with post-production splitting as a deliberate strategy rather than a last-minute adjustment. Sachdev's insistence that compositional intent precedes commercial metrics suggests a potential model for balancing artistic vision with streaming economics in Indian film music.