The appeal of many murder mysteries is the final revelation of how the crime was committed (especially if the killer gets away with it). Though Haseen Dillruba (“Beautiful Beloved“) has a fiery payoff, the question of why the deed was done is far more interesting.
The film opens with an explosion in a residential neighborhood in the small city of Jwalapur, north of Delhi. Rani (Taapsee Pannu) is outside her home when a gas cylinder in her kitchen ignites. She identifies her husband’s body by his wrist bearing a tattoo of her name — the only part of him that hasn’t been incinerated.
Police Inspector Rawat (Aditya Srivastava) is convinced that Rani murdered her husband Rishu (Vikrant Massey), though she protests her innocence. Rawat’s interrogation triggers flashbacks to various points in the couple’s relationship, which Rani describes as, “sometimes good, sometimes not so good.”
Rani and Rishu get together via an arranged marriage. Both of them seem to have gotten through life doing the bare minimum to make themselves desirable marriage candidates, but not doing much to make themselves complete people. Shy Rishu has a stable engineering job, and Rani is pretty and a capable cosmetologist. Neither has any experience in communicating with a romantic partner nor any instinct for nurturing intimacy. Living with Rishu’s parents only adds to the pressure on the new couple.
All of Rani’s ideas about romance come from books by her favorite author Dinesh Pandit, who writes pulp novels about small-town murder mysteries. Rani quotes Pandit so often that the fictitious author is almost a character in his own right.
When Rani blabs about her and Rishu’s non-existent sex life to her family, Rishu gives her the silent treatment. This leaves Rani lonely and vulnerable when Rishu’s beefcake cousin Neel (Harshvardhan Rane) comes to stay with the family. Neel is as exciting as Rishu is mild, and he’s more than happy to give Rani the attention that Rishu withholds from her.
It takes Rani’s affair with Neel for both Rani and Rishu to become interesting people. It strains credulity a bit that both members of the married couple are so bland beforehand, but the wild trajectories their personalities take from that point is what makes the movie really intriguing. Rishu develops a violent streak and Rani a corresponding capacity to endure punishment. It’s nuts, but it works.
It’s worth considering how problematic Rishi’s violence toward Rani is within the context of the film. For some, a blanket condemnation of all violence perpetrated by men against women will make Rishu’s actions untenable. Within the world created by director Vinil Mathew and screenwriter Kanika Dhillon, the sequence where Rishu repeatedly tries to injure Rani is less about his actions and more about Rani’s willingness (or desire, even) to endure any punishment to atone for her transgression.
The sequence also highlights how screwed up Rani and Rishu actually are when forced to reckon with intense emotions. It’s something that is hinted at early in the film via Amar Mangrulkar’s unusual score, which ping-pongs between somber and melodramatic to sitcom-esque wacky, depending on the scene. The musical choices are slightly off-putting but effective at establishing that this is not a movie about an ordinary couple.
All three leads are effective in their roles, with Rane embracing his eye-candy avatar. Pannu is competent as always. Massey stands out as an ordinary man with a dark edge he didn’t realize he possessed. Haseen Dillruba isn’t perfect, but it’s certainly entertaining.