The title of the film is a clever one. Conjuring up memories of “Rishi Kapoor crooning Ek haseena thi, ek diwana, ..” in Karz, it is in fact an attempt to reinvent the whole idea of ek haseena ek deewana breaking away from the stereotypical and give the audience a very reasonable thriller which manages to grip and convince at the same time.

Sarika (Urmila) is a savvy, single girl, who lives on her own in Mumbai and works for a travel agency. Warding off the designs of her sleazy married neighbour, she comes across a charming Karan (Saif Ali Khan) at her travel agency who immediately asks her out. Telling him that she does not go out with strangers, Karan is sent packing. However, Karan appears from no where when Sarika has her bag stolen and he retrieves it for her. Humbled by this act of chivalry, Sarika lets her defences down and agrees to a cup of coffee with Karan. But there is a doubt there, certainly in the audiences mind. Was it a set up by Karan, the whole purse snatching incident? One just doesn’t know too much about Karan, who states that he is a commodities dealer or something to do in the financial markets. Leaving Sarika during coffee, he increases the interest that she has in him as a character and it appears that he has successfully worked on her trust when she accepts a lift with him the following day and she invites him home for coffee. In a magnificent scene, when Sarika asks Karan what he would like, he retorts that he would like to kiss her. Shocked at this, she flings him out of the house and refuses all contact with him.

Working late one night, Sarika leaves work alone only to be set upon by 4 drunken men intent on more that just a little bit of a chat with her. Miraculously, Karan arrives on the scene in typical Hindi film fashion and saves Sarika from the thugs. Relieved, she accepts a lift from him and all is forgiven. He jokes about having hired the thugs and although it is dismissed as a joke, you are uncomfortable with Karan because you don’t actually know who he is or what he is after.
Karan inveigles his way into Sarika’s trust and gradually erodes her will-power, ostensibly falling in love. Away on “work”, he asks Sarika to look after one of his friends who is stopping over in Mumbai for about three hours which Sarika agrees to. The friend arrives and after having tea, decides to go out for a bit, leaving behind, his suitcase with her. At some time later in the day, she sees on TV that the “friend” has been murdered and in fact has a different name to that given to her by Karan. Karan calls her and tells her that she should take the suitcase out of the house and get rid of it and that she should not link him with anything in the event that anyone asks as it would effect his business. As she is leaving her flat, she is confronted by the Police.

Incarcerated in jail and being represented by Karan's lawyer, the lawyer manipulates her decisions. He even convinces her to admit her 'guilt' in court which lands her a seven year sentence. Slowly it downs on her that she has bee duped and used by Karan and she begins to plot her revenge.

The film does not follow the usual Khoon Bhari Maang revenge pattern but manages a few clever twists and turns before its chilling finale. What raises this film from the ordinary is its slick direction and a clever script which keeps you guessing and engrossed in the lead characters. There are no compromises made to commercial concerns, no songs to break up the rhythm and although, there are times when you may feel that the film is trying to cover up holes in the script or a lack of credibility, for instance the police arriving at Sarika’s house, or Sarika protecting Karan at all times even in prison, or her subsequent murderous spree, this tends to be forgotten in what is essentially a clever plot. This is not “Double Jeopardy” and what makes it so much more interesting is that it is not a copy of a Hollywood movie even though some have compared it to Gumrah because of the incarceration of the heroine in that film as well. Beyond that, there is no connection with Gumrah.

Sriram Raghavan deserves credit for making a film which breaks down stereotypical characters and making a film which is character based. There are no happy endings, neither are there sympathetic rejected boyfriends who are seeking to support the “wronged” heroine. Sarika is a girl who inadvertently has been used by an insidious man who simply does not care, who uses an opportunity to get his own way. Having worked his wily ways, you see the destruction of trust. In another excellent scene, you see Sarika surrendering to the power of Karan when she tells him that she trusts him when in fact her eyes show fear and indecision.

Urmila is an actress who tries hard and in Ek Hasena Thi, she is extremely good. And hats off for a heroine who really made a name for herself as a mainstream heroine, to make a film like this and indeed Bhoot. As Sarika, she goes through the gamut of emotions, and infuses her role with a great deal of conviction. Saif Ali Khan on the other hand soars with this film is an effortless performance as the manipulative and shady Karan, out for self-preservation and self-interest. Saif manages to make Karan a thoroughly believable character, charming and malevolent at the same time. Ek Haseena thi showcases the actor in a role completely different form the recent roles that he has been doing, which really is a progression for him. Saif as Karan is riveting. Seema Biswas is excellent as the policewoman.

The film however must belong to Ram Gopal Verma, the man who creates opportunities for all these new directors to explore with different themes and ideas. Verma, not always successful but always trying something a new is breaking down the norms of Bollywood, throwing clichés to the side and trying new vistas. Hats off to a true genius in Bollywood.