Haseen Dillruba Taapsee Pannu, Vikrant Massey, and Harshvardhan Rane’s skills are wasted in Vinil Mathew’s romantic thriller,
Haseen Dillruba Taapsee Pannu, Vikrant Massey, and Harshvardhan Rane’s skills are wasted in Vinil Mathew’s romantic thriller, Haseen Dillruba, which is neither romantic nor thrilling. The film is now available on Netflix. The opening ten minutes of Haseen Dillruba are so frantic that I nearly wished for a break. A man dies, a wedding occurs, and Kanika Dhillon receives an unusually favorable credit. Also, it doesn’t perceive any better from there.
Netflix India buys terrible movies on an almost weekly basis, but this one — a cartoonish cautionary tale about the dangers of arranged marriage — is one of the most depressing. Haseen Dillruba, directed by Vinil Mathew, is a tremendous strain on Taapsee Pannu’s post-Pink career than even Judwaa 2. All of you understood what you were going into with that picture. Still, Haseen Dillruba dares to offer something more substantial it has aspirations for prestige beneath the guise of pulp pleasures.
There isn’t a single minute of conventional storytelling in Haseen Dillruba – it’s an assault on all senses, including commonplace ones. This film is a few over two hours long traditional, you could say but don’t be fooled. It appears to be four. In this weird mix of passion and vengeance, three extremely dislikeable characters come together. However, the overall impression is that you’ve been snuck a roofie. Haseen Dillruba isn’t the ode to Hindi pulp literature that was hinted about.
Even by the norms of what you may hear on a train station, the characters in this video act like no human being you’re ever likely to meet. Taapsee Pannu’s portrayal as Rani, a bored housewife, is all over the place. In one scene, she’s the typical Taapsee Pannu — outspoken yet lovable — and in the next, she goes stunningly off-brand, literally begging a man to embrace her. Given how Rani had been portrayed to us, this is a startling change.
The problem here isn’t a change of heart – these things happen — but the film’s disregard for its internal logic. Usually, it would be up to the writer and director to make the character’s growth elegant. It’s not the actor. But, because there is no in-between between these two extremes of Rani’s personality, it feels as if you’re witnessing two completely different individuals.
Where is the Taapsee who was so commanding of her character in Thappad? Haseen Dillruba, what have you done to her? Tonal wrinkles like these can only be smoothed out if the operation’s creative minds are on the same page. They don’t appear to have arrived.