Arjun works as a daredevil YouTuber who seeks out unsolved mysteries and accepts physical challenges that most people avoid. He shares a house with his childhood friend Pratap, and the two spend their days chasing content ideas that will draw views. One evening Pratap brings up a memory from their village: a crumbling, abandoned bungalow that holds a local legend. He asks Arjun to help him locate a girl he once knew as a child, and Pratap requests Priya, his girlfriend, to look into the matter. Priya obliges and tells the story everyone in the village tells in whispers.

Years earlier, a newly married couple moves into a large bungalow at the village edge. After a while only the husband is ever seen; the wife effectively disappears from public view. Each night at eight o'clock an alarm bell in the house begins to ring and the neighbors hear a woman wailing for a full hour. Those sounds persist for seven years. Then, one night, a woman emerges from the property engulfed in flames. She walks down the lane, her clothing burning, and collapses and dies on the road; villagers pull her burning body from the street and watch her expire from the burns. The following morning a group of villagers finally enter the bungalow to inspect it and find the husband dead inside. They also find a small child in the house, a girl who has been living there in secrecy. That girl is the one Pratap remembers from childhood and wants to trace.

Priya tells Pratap that the child, who grows up in the village, later loses her husband in an accident on the day of their wedding. According to the version circulating in the community, the woman cannot bear that loss; she sets herself alight and dies by self-immolation, and from then on she haunts the under-construction apartment the married couple once visited. People start calling the spirit Divyavathi. The apartment the filmmakers' protagonists intend to occupy is the same place said to be haunted by Divyavathi. Arjun, who overhears this exchange, decides to investigate the apartment for his channel. He vows to meet Divyavathi rather than passively accept the tale that she kills anyone who enters. Despite warnings and neighborhood rumors, Arjun steps into the empty flat and speaks aloud to the unseen presence, telling the ghost he wants to know her story.

Arjun follows up by tracking down the builder who had worked on the property before the deaths. The builder produces an old photograph taken at the construction site: a picture of a young woman in a bridal look, taken at the apartment before her planned marriage. The builder also says that workers told him about a suicide, but he himself never saw the body. Arjun fixes on the idea that the woman from the photo might still be alive; he forms a one-sided devotion to the absent woman and begins to plead with her on camera. He brings gifts to the apartment, posts messages, and even invites her out on an imagined date. He never attempts to look directly at whatever presence he senses inside the place; he treats the absence as a person. Pratap, Priya, and their friend Pinky arrive to stop him, arguing that the woman is dead and the apartment is haunted. To settle the matter definitively, they dig up the grave believed to contain Divyavathi's remains. They bring the exhumed skull and bones to Pinky, who reconstructs the face from the skull. When Pinky reveals the facial reconstruction, everyone recognizes the features: the face matches the photograph the builder had shown. Arjun collapses into despair when confronted with what appears to be proof. He withdraws from his public investigations and returns to his everyday life.

Priya sits with him and attempts to console him. As she learns how deeply Arjun loves someone he has never actually met, she begins to feel tenderness for him that grows into love. Meanwhile, Pratap continues searching for the girl from the bungalow. During his own digging through archives and old photographs, Pratap finds pictures of three girls--Pallavi, Noor, and Charisma--whose faces attract his attention because their reported histories intersect with the missing girl. Pratap shares the images with Arjun and Priya and suggests the child from the bungalow might be one of the three. The three girls have disappeared under separate circumstances, and the police records show an odd pattern: when one girl is reported missing, the death certificate filed the next day gives the name of a different girl. Specifically, reports record Pallavi missing and Vennela as the deceased the next day; Noor goes missing and the death report lists Pallavi; Charisma disappears and the death report lists Noor. The police files confuse the friends when they try to follow straightforward identities.

Arjun insists on exhuming the three graves to compare remains and resolve the mismatch. With Pinky's assistance they unearth each body. The remains are badly damaged in all three cases; the faces are beyond recognition because the bodies show trauma and disfigurement that defeats identification by ordinary sight. Pinky performs facial reconstructions for each skull and the reconstructions do not align with the names on the official death records. Pinky explains to the group, in precise technical detail as she displays molded clay features, that the state of the corpses could have allowed someone to take advantage of the chaos; an opportunist could have swapped identities by matching identification documents to the wrong bodies, or by substituting one corpse for another when recognition was impossible. The friends absorb Pinky's conclusion: someone with access to the scenes and to documents might have repeatedly assumed or reassigned identities to cover tracks.

That night Arjun returns alone to the graveyard where Divyavathi's grave stands. He sits and waits with a lantern, expecting the paranormal or at least some clue the camera crews missed. In the dark he sees movement; a woman in bridal dress appears at the edge of the cemetery. She crosses the field toward him in a wedding gown, her face veiled, and stops by the grave. Arjun approaches and lifts her veil. The woman is not the burned corpse from the old photos but rather Priya. Priya is standing before him in bridal attire; she speaks and begins to tell him her entire life.

Priya recounts an early childhood that nobody in the village knew about. She says that when she was very small a boy once slipped a ribbon box through the window to her room and then disappeared from her life. Her parents die while she is still young; on discovering the dead children she lives through trauma until a police officer rescues her from the orphanage and places her into a new family. She is adopted into a loving household that already includes a child named Vennela who later dies while Priya is still young. To earn the affection of her adoptive parents, Priya puts on Vennela's dress and accepts the name and role of Vennela; she adopts the identity of the dead child to avoid abandonment and to keep receiving love. As time passes the memory of her original family haunts her--she recalls in detail her mother tortured and then setting herself on fire and, as Priya describes it, dying by self-immolation. That scene of her mother burning remains fixed in her mind. After another period of stability, her adoptive parents die and the sense of loss resurfaces. In school she endures teasing and ostracism because of the trauma she cannot hide and the odd behavior she developed to cope.

Priya tells Arjun she then discovered a practical, if desperate, way to survive: she begins to take advantage of accidents, to change papers, and to adopt the identities of dead girls to erase her own past. She comes upon the wreckage where Pallavi has died in an accident and removes the dead girl's identity documents, replacing them with new ones so the police will register Pallavi under a different name. Afterward she assumes the identity Pallavi had lived under. In the same manner she changes identities again when Noor dies and then again when Charisma dies; in each case Priya removes the identification and puts on the name of the deceased as a new mask. She explains to Arjun that the police list shows missing girls followed by death certificates with different names because she has repeatedly swapped identities in those chaotic moments when faces are unrecognisable. The police register one name as deceased that does not match the missing person's original identity because Priya is manipulating identity records.

Pratap and Priya both fall in love with one another as their shared investigations bring them closer, and for a time Priya feels she may finally keep one fixed identity and live without running. When Pratap grows determined again to find the child who once lived in the bungalow, Priya panics. She says she invents the story of Divyavathi--a tale she learned online about a bride who kills herself after her husband dies--to create distance between Pratap and her public self, to discourage Pratap from digging into the bungalow's past and thus exposing her secret. She fabricates the haunting, spreads the rumor, and even stages certain signs to preserve her safety. When Arjun ignores the warnings and enters the apartment, Priya is forced to act directly to scare him away. She stages eerie noises and the alarm at the appointed hour. In the process, however, Priya grows to admire Arjun because he loves a woman he has never seen. She observes his willingness to accept the unknown version of someone, and through that observation an unexpected affection for him blooms.

Arjun listens as Priya describes how she has been coping by disappearing into other women's names. He does not condemn her. Instead he sits with her under the moon and tells her she cannot keep escaping her trauma through false identities; she must face her past and change the pattern of swapping names for survival. He presses her to accept a stable life and a single true name. In what seems like a sudden, theatrical act of devotion, Arjun produces a small blade and stabs himself in front of Priya, crying out and collapsing into her arms. Red stains spread on his shirt as he keels over; he dies, or so it appears, in Priya's hands. Priya screams and clutches him, calling for help, and she is left shattered and guilt-ridden as those around her mourn.

Priya swears to stop changing names after this and decides to live openly as herself rather than hide behind borrowed identities. She moves in with Pratap for a brief period to console him while he packs Arjun's possessions. While going through boxes of Arjun's belongings for items Pratap might want to keep, Priya finds the small ribbon box she had received as a child through the window. She realizes in a moment of shock that the boy who had slipped the ribbon box to her years ago was not Pratap at all but Arjun. The memory collapses into clarity; she falls to the floor and loses consciousness from the revelation. She had been living in the belief that the ribbon came from one boy when in fact it came from the man who loved her all along.

A few days later Priya returns home carrying the weight of Arjun's death and the new knowledge of his childhood gift. She sees a small ribbon box sitting on her window ledge; at the same moment her phone pings with a notification about a freshly posted video on Arjun's YouTube channel. She freezes, convinced someone is watching her and trying to reach her. She bolts outside, running through the neighborhood, calling Arjun's name and shouting into the night, raw and panic-stricken. Within minutes Arjun appears and calls out her name back to her. He stands alive and smiling as if nothing terrible has happened.

What the friends discover next is that Arjun's death had been staged. Arjun had orchestrated his apparent suicide with the help of Pinky and a carefully arranged rescue plan. When Arjun had pretended to stab himself, Pinky had been ready to assist, concealed helping hands that made the wound non-fatal and allowed Arjun to vanish from public view until the perfect moment for reappearance. The staged death had been a designed test of Priya's willingness to stop fleeing; it also served as a dramatic proof of Arjun's devotion. With the shroud of grief lifted, Priya and Arjun reestablish their relationship. They decide together that Priya will not assume other people's names anymore. They publicly announce that they will live together, and on their first night as a couple in the present-day timeline they lie beside one another. Arjun turns to Priya and says, with a grin that mixes intimacy and mischief, that this is not the first time they have spent the night together. Priya recoils in astonishment at that admission.

Priya's look of shock hardens when Arjun reveals a further, disturbing detail: during his earlier time investigating the apartment, while he was ostensibly alone, he had slept with another presence in that flat. What Arjun confesses is that on one of the nights he had shared a bed in the apartment not with a living woman but with the actual apparition of the real Divyavathi. He tells Priya the warmth and the physical closeness he experienced were with a ghost that remains tethered to the under-construction flat. The revelation comes as a second, darker twist. Priya realizes that while she thought Arjun had only loved an idea--his devotion to a photographed woman--he had in fact been intimate with a supernatural entity. The last image the film leaves is not of closure but of the apartment sitting silent and empty in the moonlight, the real Divyavathi still within its walls as the living lovers proceed with their life outside. The story closes with Arjun and Priya together, having resolved identity confusions and staged grief, while the ghost that haunted their search remains in the apartment they once feared.

The ending of Hari Hara Veera Mallu: Part 1 – Sword vs Spirit concludes with a dramatic and intense confrontation between Veera Mallu and Aurangzeb, set against the backdrop of a powerful tornado. The film ends on a cliffhanger, with both characters caught in the storm, leaving their fates uncertain and setting the stage for the sequel.

Expanding on the ending scene by scene:

The climax unfolds as Veera Mallu, the valiant warrior and thief, reaches the critical point of his mission to retrieve the legendary Koh-i-Noor diamond from Aurangzeb, the Mughal emperor. The tension escalates as Veera Mallu infiltrates Aurangzeb's stronghold, determined to steal the diamond and challenge the emperor's oppressive rule.

A fierce battle erupts between Veera Mallu and Aurangzeb, showcasing their contrasting strengths and ideologies. The fight is brutal and relentless, with both warriors demonstrating exceptional skill and resolve. As their duel intensifies, a massive tornado suddenly descends upon the battlefield, adding chaos and danger to the confrontation.

In the midst of the swirling storm, Veera Mallu manages to hang on tightly to Aurangzeb, symbolizing their intertwined destinies and the unresolved conflict between them. The tornado's fury envelops them both, obscuring the outcome of their fight and leaving the audience in suspense.

Regarding the main characters' fates at the end:

• Veera Mallu remains alive but his mission is incomplete; his struggle against Aurangzeb and the Mughal empire continues, positioning him as a savior figure for Sanatana Dharma.
• Aurangzeb is also alive but caught in the storm with Veera Mallu, his fate equally uncertain.
• Other key characters like Panchami and Qutb Shah have their roles concluded or paused, with Qutb Shah having entrusted Veera Mallu with the mission to retrieve the Koh-i-Noor, and Panchami's deeper significance hinted but not fully resolved.

The film closes without revealing whether Veera Mallu successfully steals the Koh-i-Noor or defeats Aurangzeb, deliberately leaving these questions open for Hari Hara Veera Mallu: Part 2 – Battlefield.

This ending highlights the ongoing conflict between the spirit of resistance embodied by Veera Mallu and the oppressive forces represented by Aurangzeb, emphasizing themes of courage, faith, and the fight for justice in a turbulent historical period.

For the movie "Hari Hara Veera Mallu: Part 1 – Sword vs Spirit," there is no specific mention of a post-credit scene in the available information. However, the film does end with a setup for a sequel, as it concludes by announcing "Part 2, 'Battlefield'". The theatrical version originally included a climactic scene where Aurangzeb declares, "A storm is coming," but this was altered in later edits.

The OTT version of the film, which premiered on Prime Video, features a different ending. It concludes after the song "Asura Hananam" and includes a sequel announcement, removing the storm sequence entirely. This results in the film having three distinct endings across its different edits.

In summary, while there isn't a traditional post-credit scene, the film sets up a sequel and has varying endings depending on the version viewed.

Veera Mallu's mission to recover the Koh-i-Noor diamond is not just a royal task but is driven by a deeper, personal motive connected to his mysterious past and a personal vendetta against Aurangzeb. His true purpose unfolds gradually, revealing layers of his hidden past and his role as more than just a thief, transitioning into a savior of Sanatana Dharma.

Panchami is a devadasi whom Veera Mallu encounters during his missions. She is closely associated with Veera Mallu, and their relationship is significant to the plot, as she accompanies him during his escape from the King of Kollur and is part of the unfolding story around Veera's deeper motives.

Veera Mallu recruits a band of misfits who aid him in his mission to steal the Koh-i-Noor diamond from the Mughal empire. This group supports his rebellion against the imposition of Jizya tax and his larger fight against Aurangzeb's rule.

Veera Mallu shares a buried and complex past with Aurangzeb, which is gradually revealed throughout the film. This past fuels Veera's personal vendetta against Aurangzeb and adds depth to their conflict beyond the mission to steal the Koh-i-Noor.

Veera Mallu faces significant peril in his quest to steal the Koh-i-Noor diamond, which is heavily guarded within the Red Fort in Delhi under Mughal emperor Aurangazeb. The mission involves outsmarting powerful rulers, overcoming formidable defenses, and navigating political and personal dangers tied to the Mughal empire.

The movie Hari Hara Veera Mallu: Part 1 - Sword vs Spirit (2025) is a period action film with intense sequences and some dramatic emotional content, which may not be fully family-friendly for young children or very sensitive viewers.

Potentially objectionable or upsetting aspects include:

• Action sequences with violence typical of historical battle scenes, including fights involving armies and personal combat.
• Scenes depicting cruelty and oppression related to historical conflicts, including religious and political tensions, which might be intense or disturbing for sensitive viewers.
• Some dramatic and emotional moments involving famine, suffering, and defense of vulnerable groups, which could be upsetting.
• A few visual effects and sequences that might appear intense or unsettling, such as a scene involving wolves and confrontations with oppressive rulers.

The film is not rated officially but given its themes and action, it is likely more suitable for older children and adults rather than very young children or those sensitive to violence and historical conflict drama. There are no reports of explicit content or strong language, but the overall tone is serious and intense due to its historical and action-oriented nature.