The Hindi crime thriller ‘Haseen Dillruba’ and its sequel ‘Phir Aayi Hasseen Dillruba’, in which Dinesh Pandit, who wrote a lurid novel about the murder of his wife in the small town of Jwalapur, stars opposite Anita Parvez’s character from Madhya Pradesh. Though it never made it to the film set, the book remains essential reading for the character because of Rani Kashyapriyari …

Pandit’s novels and the lessons they convey are deeply rooted in Rani’s narrative of her ongoing love triangle, leading fans to question the impact of her titles in reality.

Dinesh Pandit’s crime novels are considered fiction.

Screenwriter Kanika Dhillon wrote the screenplays for ‘Haseen Dillruba’ and ‘Phir Aay hatte Dillruba’, both of which depict fictional worlds. Dinesh Pandit, a famous crime writer, is the main inspiration for the filmmakers’ film universe. Although Dinesh Pandit is a fictional character in Dhillon’s film universe, his fictional world is not a real person.

First of all, Pandit is a fictional reference to authentic Hindi pulp fiction writers who were famous from the 1960s to the 1990s. Authors like Gulshan Nanda, Ved Prakash Sharma and Surendra Mohan Pathak are highly regarded by fans and enthusiasts alike and have built up a vast archive of books and stories ranging from detective stories to crime novels to crime-themed romance novels.

Thus, Pandit’s character remains a tribute to the genre of Hindi pulp fiction novels that entered the cultural landscape as this generation grew up. In an interview with OTTplay, Dhillon admitted that her Hindi pulp crime novels were the source of inspiration for Dinesh Pandit portraying a woman in a thriller, although his romantic stories revolved around the film world.

Hawas ka Aatang serves as a precursor to the relationship between Rani and Neel.

In ‘Hawas ka Aatang’, one of the books that make headlines in ‘Haseen Dillruba’, it is revealed that Rani’s relationship with Neel’s brother Rishu is a failure. As a result, Rishu is unable to make contact and responds coldly and the events of Neel’s visit to his house lead to an instant spark.

In one of the earlier scenes where Rani and Neel are both sneering on the balconies of the house, the aforementioned Rani can be seen reading the Paeana Hawas Ka Aatang as the two get into a trench of indecent flirtation, the name literally meaning fear of the sexual attraction that eventually develops between the two men. The episodes certainly point to a prelude to similar similarities between the two and then, in the latter case, the Pandit’s novel in their initial interaction where both express their own anger towards each other.

The stories of Cobra ka Intiqam and Magarmach ka Shikanja: Narrative Catalysts have been considered by scholars.

Dinesh Pandit’s books from Phir Aayi Hasseen Dillruba are more integrated into the film’s plot than Hawas ka Aatang. In the previous film, Rani and Rishu use the plot of Kasauli ka Kehar to cover up Neel’s murder and evade the law. Meanwhile, Abhimanyu, a newcomer in the sequel, used Cobra ka Intiqam to stage the death of his family in his early twenties. Thus, he used the same

Rani, Rishu and Abhimanyu use Magarmach ka Shikanja (Crocodile Grip) as a guide to evade the official investigation of Officer Montu. The plot of the book also repeats the plot of the 1988 film ‘Khoon Bhari Maang’ in which crocodiles play an important role. Both the books are as non-existent as Dinesh Pandit and his film but both add to the film and contribute more to the film which plays a more important role.