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Phir Aayi Hasseen Dillruba

January 20, 2025
Three years after Vinil Mathew’s *Haseen Dillruba* provided a dose of entertainment during the pandemic, its sequel, *Phir Aayi Haseen Dillruba*, attempts to build on Rani Kashyap’s (Taapsee Pannu) allure. Promoted as a thrilling follow-up to brighten a gloomy rainy season, the film instead falters, delivering an uninspired narrative. Despite the makers’ efforts to craft a desi pulp fantasy for Netflix audiences, they fail to transform the melodrama into a gripping romantic noir. Directed by Jayprad Desai, the sequel suffers from a lack of novelty. The original story of a small-town beautician torn between two men left little room for further exploration, and this installment feels contrived. Writer Kanika Dhillon’s flowery prose drags, while shallow dialogues fail to lead to compelling action. Set in Agra, the romance feels lifeless, and the crime lacks intensity. The frequent shifts in timeline, aimed at sustaining 
suspense, come across as more of an editing gimmick
Actor : Taapsee Pannu, Vikrant Massey, Sunny Kaushal, Jimmy Shergill,Bhumika Dube Director : Jayprad Desai Release : 9 August,2024 Country : India Language: Hindi
than an organic narrative choice. The plot picks up
with Rani and her husband, Rishu Saxena (Vikrant Massey), planning to escape abroad after deceiving the police. Enter Jimmy Sheirgill as officer Mrityunjay Prasad, whose personal connection to the case drives his mission to unravel the mystery of Neel Tripathi’s (Harshvardhan Rane) disappearance from the first film. Along the way, a new admirer, Abhimanyu (Sunny Kaushal), steps into Rani’s life, adding another layer to the cat-and-mouse game. However, the story remains unconvincing, and the suspense never quite builds to a crescendo. While the premise brims with potential, the execution fails to deliver the promised thrills. Rani’s complex character, which made the
first installment intriguing, is reduced to a one-dimensional portrayal. The supposed moral ambiguity and tension that fueled the original are diluted,
leaving behind a hollow narrative. Even the homage to pulp fiction through a fictional writer within the story feels overly self-aware and lacks depth.
The performances mirror the film’s shortcomings. Sunny Kaushal struggles to bring charisma to Abhimanyu, while Jimmy Sheirgill’s lackluster portrayal of the investigating officer does little to heighten the stakes. Vikrant Massey, whose character was central to the original’s emotional core, is underutilized here. Taapsee Pannu’s performance, though competent, fails to break free from her recent pattern, rendering her portrayal efficient but uninspiring. Even the film’s attempts at visual flair, such as sultry red-hued conversations in beauty parlors, fail to reflect in the storytelling. A pivotal line—“If AD3 love doesn’t drive you to the brink of insanity, it isn’t true love”—is reduced to a mere throwaway remark, emblematic of the sequel’s overall lack of impact. *Phir Aayi Haseen Dillruba* ultimately serves as a shadow of its predecessor, unable to recapture the chaotic charm and moral complexity that made the original compelling. It lingers in mediocrity, leaving the audience longing for the intrigue and intensity that once defined Rani Kashyap’s world.
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