Phir Aayi Hasseen Dillruba movie review!

Review of the film Phir Aayi Hasseen Dillruba: The three performances are flawless: Sunny Kaushal as “mar-mitne-wala-aashiq,” Vikrant Massey as the courageous man pursuing his one true love, and Taapsee Pannu as the cunning Rani.

The 2021 Haseen Dillruba sequel succeeds in every way that its predecessor failed to: it is moody, deliciously squelchy, and full of characters who take great pleasure in using dhokha, sex, and love as tools to achieve their dubious goals. I have not enjoyed a Hindi movie this much in a long time, as it delves far into the realm of mature, immoral romance.

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Phir Aayi Hasseen Dillruba, which renames “Hasseen” with an extra “s,” does not waste any time in revealing to us how uneasy our lovers-on-the-lam Rani (Taapsee Pannu) and Rishu (Vikrant Massey) still are. Although their Agra hideout is somewhat removed from the town they fled, their adversary, a tenacious police officer named Aditya Srivastava, is still pursuing them.

This time, they are up against a more formidable and astute adversary in the form of Mrityunjay, the investigating officer (Jimmy Sheirgill), who introduces himself as a “kadhphodwa” (woodpecker) in a fantastic sequence and makes knocking motions with his hand. He knows that the two are to blame for the loss of a loved one, thus he will not stop pecking until he gets their ass.

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There are a couple more additions in the cast this time around, and both add flavor. The mild-mannered Abhimanyu (Sunny Kaushal) is a local compounder whose being smitten with Rani is no secret. What he keeps under wraps are his other skills, which is knowing exactly how deep the waters of the Yamuna run, and how vicious the crocodiles that swarm the river are. The other is a wily woman (Bhumika Dube) who weaponizes her disability to get to her target: it matters little that the man she has set her eyes on is patently not into her. She was a stand-out in the feminist romp ‘Cheepatakadumka’; here she is as impactful.

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Props to writer Kanika Dhillon for infusing the characters with empathy, that quality which is necessary for us to go on rooting for them despite themselves. They can go to any lengths, even murder, to attain the object of their desire, but they are not inherently evil. They do what they do for love, especially as it is depicted in those grubby paperbacks with such titles as ‘Khooni Ishq’ and ‘Pyaar Ka Darinda,’ mention of said ‘upanyaas’, as in the earlier film, adding the right hint of luridness here.

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