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Haseen Dillruba (The Beautiful Lover) Movie

Haseen Dillruba (The Beautiful Lover) Movie Review 2021

Haseen Dillruba (The Beautiful Lover) begins with a crime and returns with the testimony of the main suspect – the wife of the alleged victim, who gave an account of his stone marriage to the police in intolerable details.

Taapsee Pannu, she plays the role of her husband Rani Kashyap.  Vikrant Massey plays the role of his allegedly murdered wife, Rishabh aka Rishu Saxena.  And Aditya Srivastava is Inspector Kishore Rawat.  Investigative officer learns from Rani about Rishu’s sexual cousin Neel Tripathi (Harshvardhan Rane). Rani explains her first meeting with Rishu, her early dissatisfaction with her choice of a partner in a regular marriage, her awkward attempts to win it over, and the growing tensions between them that followed.  its role in reducing relations.

What appears on the screen in the first half is subtly entertaining, even if it reconsiders the idea that social grace, rudeness, and even humiliation are a sign of female coldness, as defined by Bollywood in the last decade.  There is no reason to believe that Rani said that Kanwhen Rishu and his family visited his house for the first time to check on the potential bride. 

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Tanu Weds doesn’t sit between them wearing a handkerchief like a woman, as in the Manu sagas, but of course she is nervously confident, which is strange because Rishu wants her to like him. Of course, her strange behavior is something that many Indian directors these days see as an attractive intelligence and attractive confidence in a woman.

It is impossible to understand why Rani married Rishu if she wanted to be dissatisfied since day 1.  If the choice should be a statement about the compulsion of marriage in the lives of Indian women, then it is offered without any depth and nuance.

Soon, Rani’s confrontation with her mother-in-law replaces a horrific incident of violence and a killer rage in ‘love’.  It can be claimed that Rani may exaggerate Rishu’s behavior in his statement to the police, but even after the nuts and dwarfs of the main crime are revealed, the film remains firm in the message: “If love doesn’t push you, it’s crazy love, it’s not real love.”

Haseen Dillruba describes Tere Naam’s passionate, tense feelings for a woman as synonymous with obsession, violence and mania. Separated from the policy of anxiety, Haseen Dillruba never leaves the screen.  Despite a stunning opening air shot, Jwalapur, the city of Ganga where it is located, is not revived by any scenery, sounds or the hustle and bustle of normal daily life.  In fact, the film is not shot and looks far away.

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The great explanation that emerges in the end, though surprising, is illogical, incredible, unscientific, and full of gaps.  And the tone is not as original as it suggests.  Without saying anything, I remember reading a crime story about a pregnant woman who killed her husband with the same clever weapon used in this film as I did when I was a teenager.

Director Vinyl Mathew made his debut in 2014 with Hasee Toh Phasee, starring Parineeti Chopra and Sidharth Malhotra.  This film has created a leading couple with empathy and electricity, a pair worth taking root.  Haseen Dillruba is not as glamorous as Hasee Toh Phasee, and I love, hate, dislike or dislike one of my characters.

However, Haseen Dillruba is consistent with the filming sensibilities of producers Aanand L Rai and Himanshu Sharma, who have so far successfully collaborated as directors and writers in Tanu Weds Manu films and Raanjhanaa. Rani’s conceptualization in this film stems from the same feminine thought that appears in Tanu Weds Manu 1 & 2, and in Haseen Dillruba, the romanticization of physical aggression is not far from the thought that legitimizes persecution as a form of hospitality Raanjhanaa.

It is very worrying that Ms. Rai and Sharma refuse to let go of this backward relationship, but what is even more worrying is that Haseen Dillruba was written by a woman.  While researching Kanika Dhillon’s filmography, she throws in multiple characters with cookies and / or clichés (Manmarziyaan, Judgementall Hai Kya), while also writing together a warm, convincing connection between the leaders in Kedarnath, where the female protagonist is.  it was as rebellious and uncertain as women could be in real life.  It is disappointing to think that the same person wrote Haseen Dillruba and Kedarnath.

The pale writing may explain Pannu’s dead performance here.  It’s nice to see a female actor in the first place on a film credit, a man who goes against the Bollywood norm to win a place on the actor’s charts, but I wish she hadn’t chosen this film, especially considering the sequence, every morning when Haseen Dillruba leaves office  a loving wife who runs after a purse, almost as a deceiver of a deep motive that traditionally plays the role of the interpretation of male-female equations in the previous film Thappad, patriarchal Indian houses.

Massey (Lootera, Death in Gunjda, Chhapaak), who has consistently excelled in her work so far, is only slightly interested in Haseen Dillruba.  However, his expression in the last scene gives a look at the actor who managed to be. Harshvardhan Rane, who did very well in Bejoy Nambiar’s Taish last year, recreates Haseen Dillruba’s only remarkable character and presents the film’s only memorable performance.

One of the things that makes Haseen Dillruba think of a scenario is the description of events outside of marriage in a conservative small town where a “lost” woman has no chance of disappearing into a mad mass, as in a big city.  At the same time, the film is similar to any social concept.  I remember feeling nervous and angry for months after watching Tere Naam and Raanjhanaa.  Haseen Dillruba is so subtle and straightforward that she can’t even keep up.

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