Fictional author Dinesh Pandit crafted eccentric novels play the main character in Phir Aayi Hasseen Dillruba, while Rani, Rishu, Abhimanyu, and Montu Chacha, turn out to be merely figures in his imaginative universe. In 2021, the original movie premiered during the COVID pandemic, captivating audiences with its gripping plot twists. Now, three years later, tastes and preferences have evolved, and the world has moved on.?
However, Rani and her husband Rishu are still on the run, trying to evade the police and build a new life. Their latest escape leads them to Agra, the city of love. Here, Rani has taken up work as a beauty professional in a salon, while Rishu juggles between delivery jobs and tutoring.
Though they live separate lives to avoid suspicion, they manage to have clandestine meetings. Their ultimate goal is to flee to Thailand, a plan that¡¯s set to take shape in two months' time, testing their resolve and patience.
Unlike before, both Rani and Rishu now face new romantic entanglements that complicate their lives. Rani attracts the attention of Abhimanyu, a charming compounder played by Sunny Kaushal, who can¡¯t help but gaze longingly at her whenever he visits her landlady for treatment. Meanwhile, Rishu¡¯s landlady, Poonam, who is also disabled, believes their shared circumstances make them a perfect match as with their missing limbs they complete each other.
The movie's first half is notably fast-paced and engaging, but despite its rapid momentum, it fails to build substantial tension. Hasseena and her suitors¡ªare rather predictable, which diminishes the overall impact of the story.
Abhimanyu¡¯s dark side is apparent from his introduction, casting a shadow over his seemingly charming demeanor. Meanwhile, Poonam is relentless in her pursuit of Rishu, showing no restraint in her aggressive advances. She even reveals that she lost her leg from jumping off a building for a past boyfriend, terrifying Rishu with the depth of her commitment and desperation.
Amidst the unfolding drama, Rani and Rishu encounter a ghost from their past: ACP Kishore Rawat. Recognizing Rani immediately, Rawat sets out to frame both her and Rishu for the murder of Neel. Now fully aware that the crime mirrors the plot of Pandit¡¯s "Kasauli Ka Keher," Rawat realizes he was misled by a web of deceit. To further complicate matters, he enlists another officer, Mritunjay Paswan¡ªknown as Montu¡ªwho has a personal stake in the investigation. He is Rishu and Neel¡¯s chacha with an affinity for the latter as he calls him his ¡®dil ka tukda¡¯.?
Montu chacha not only confronts Rani about her move to Agra but also insults her for remaining single. In an attempt to deflect suspicion, Rani decides to marry her ardent admirer, Abhimanyu, to maintain the fa?ade, despite Rishu¡¯s objections. Things take a turn when, while drunk, Rani confesses the truth to Abhimanyu. Realizing the entire situation, Abhimanyu comprehends the full extent of the complications and the ensuing chaos.
At this stage, the police chase and the truth revealed by Rani and Rishu have become rather mundane, and even a talented actor like Jimmy Sheirgill seems underutilized in this lackluster narrative. Meanwhile, the film shifts focus to an intriguing subplot: the presence of crocodiles in Agra¡¯s river. This element hints that these crocodiles might play a crucial role in the Hasseena¡¯s escape plan, adding a sliver of suspense to the otherwise predictable storyline.?Enter Dinesh Pandit and his novel ¡®Magarmach Ka Rahasya¡¯.?
Despite the police being familiar with the modus operandi, they remain clueless about the trio's next move. As Rani, Rishu, and Abhimanyu engage in a tense conversation on a railway bridge, with the police force prepared for arrests following Rishu's promised surrender, no one seems to anticipate what will happen next.
By this point, it¡¯s clear to even the most casual observer that the trio¡ªRani, Rishu, and Abhimanyu¡ªhave orchestrated a well-thought-out plan to cover for each other, as they are all criminals, including Abhimanyu. A flashback reveals that Abhimanyu is not the innocent he appears to be; instead, he¡¯s committed a horrific crime, having killed his entire family with the aid of a poisonous snake.
The crux of the plot is that they all need each other to avoid punishment. In a dramatic turn, Rishu is attacked by a crocodile (magarmach), and it¡¯s revealed that he has died. Meanwhile, Rani and Abhimanyu start a new life in a village in Deosar.
The climax, however, is as predictable as ever. Rani attempts suicide in front of Abhimanyu and the police, intending to force a confession from him so the police will hold him responsible and she can escape with Rishu¡ªwho, surprise, is alive after all! Instead of being eaten by the crocodile, Rishu managed to kill the beast and escape.
The movie concludes on an ambiguous note when Abhimanyu confides in Montu Chacha that he is the son of Dinesh Pandit, whose novels have been used as blueprints for their crimes.
If a third installment is ever produced, it¡¯s likely to center around Abhimanyu and his ongoing involvement in crime. It turns out he has been writing the novels under his father's name following Dinesh Pandit¡¯s death. Meanwhile, Rishu and Rani are expected to be hiding out in Thailand or another remote location, plotting their next escape with new accomplices and fresh novel-based schemes.
The big question is whether this franchise will generate enough interest for a third part. Personally, the second movie felt like a drag, laden with unnecessary elements, including the poorly utilized crocodile subplot. Jimmy Sheirgill¡¯s presence was a highlight, but even his talent couldn¡¯t mask the film's tedium, as he had little to do in this uninspired narrative. The chemistry between Rishu and Rani felt forced and lacked genuine emotion. Overall, the film is passable but leaves little to remember. It¡¯s uncertain if a third installment could improve matters. Had Rani chosen to be with Abhimanyu, it might have added some excitement to the plot. However, the reality is that the Hasseena saga might be better off ending here.
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