Phir Aayi Hasseen Dillruba Review: Phir Aayi Hasseen Dillruba, now with an added ‘s’ in ‘Hasseen’, quickly establishes the continued turmoil of our fugitives, Rani and Rishu.
The sequel to the 2021 Haseen Dillruba succeeds where its predecessor stumbled, delivering a film that is atmospheric, darkly sensual, and filled with characters who navigate love, sex, and betrayal to achieve their murky goals. It’s been a while since I’ve had this much enjoyment from a Hindi film that dives headfirst into mature, morally ambiguous romance.
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Phir Aayi Hasseen Dillruba, now with an added ‘s’ in ‘Hasseen’, quickly establishes the continued turmoil of our fugitives, Rani (Taapsee Pannu) and Rishu (Vikrant Massey). Their Agra hideaway may be far from their past, but their relentless pursuer, a determined cop (Aditya Srivastava), remains close on their trail.
This time, the couple faces an even tougher adversary, the cunning officer Mrityunjay (Jimmy Sheirgill). In a standout scene, he describes himself as a ‘kadhphodwa’ (woodpecker), persistently chipping away until he uncovers the truth about the duo’s involvement in a loved one’s death.
New additions to the cast enhance the narrative. Abhimanyu (Sunny Kaushal), a seemingly gentle local compounder, harbors unspoken affections for Rani. Beneath his mild demeanor lies a deep understanding of the Yamuna’s murky depths and its lurking crocodiles.
Then there’s a shrewd woman (Bhumika Dube) who uses her disability to her advantage, targeting a man clearly uninterested in her. Dube, memorable from the feminist film Cheepatakadumka, delivers another impactful performance here.
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Credit goes to writer Kanika Dhillon for crafting characters that, despite their flaws and dark deeds, evoke empathy. They may resort to extreme measures, even murder, in pursuit of love, but they aren’t innately evil. Their motivations are rooted in a passionate love, much like those found in the tawdry paperbacks with titles like Khooni Ishq and Pyaar Ka Darinda, which add just the right amount of luridness to the story.
Of course, the film isn’t without its flaws. The iconic backdrop of the Taj Mahal and a boat ride on the polluted Yamuna are overused Bollywood tropes. Some deaths are obvious red herrings, and certain dialogues are so blunt they make you cringe—why spell things out when subtle hints would suffice? A scene where police officers meekly wait their turn at a suspect’s door is particularly groan-worthy.
However, these narrative quirks are part of the charm of pulpy, sensational fiction, reminiscent of the kind Hindi writers churned out in the ’60s and ’70s. Despite some predictable “that corpse can’t possibly be theirs” moments, the film delivers enough surprises to keep the audience engaged.
Taapsee Pannu shines as the cunning Rani, her skimpy blouses barely concealing her tender heart. Vikrant Massey stays true to his role as the devoted lover, while Sunny Kaushal breathes new life into the familiar trope of a love-stricken hero, stealing every scene he’s in. Jimmy Sheirgill also impresses, though one wishes his character’s name—Rishu or Rissu—remained consistent.
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The film knows how to expertly mix desire and danger. Here’s hoping we see more of this kind of storytelling in the future.