By Certain stories compel us to set aside our skepticism and succumb to their allure. In his Telugu film Hi Nanna, newbie writer-director Shouryuv is motivated by love and destiny. This story, which presents us to stunning individuals in idyllic environments, contains certain sentimental elements, like a pet dog acting as a catalyst at pivotal moments. It is familiar and yet comfortingly cinematic. The film’s leading protagonist, actor Nani, plays a single father who makes us cry while putting his heart on his sleeve. Mrunal Thakur takes great pleasure in portraying her nuanced character development.
The background music by Hesham Abdul Wahab serves as a counterpoint to this story, which at times seems unbelievable and compels us to put aside our cynicism. Does it function? Whether or not we embrace the film’s rough qualities and accept some of the revelations as the story develops will determine how much fun we have watching it.
Mumbai-based celebrity photographer Viraj (Nani) resides in a home owned by architecture magazines with his six-year-old daughter Mahi (played by child actor Kiara Khanna). Production designer Avinash Kolla and cinematographer Sanu John Varghese create a striking visual scheme. Viraj has a very busy schedule, but he adjusts it to fit his daughter’s needs. We get the impression from the first few minutes that he is a hands-on father. Mahi appears to be living in a practically ideal world with her father, her grandfather Jayaram, her pet dog Pluto, and Viraj’s coworker and friend Justin (Priyadarshi). She is interested in her mother, though.
Shouryuv gradually reveals the bittersweet parts of Viraj’s background while unraveling his past in a fairytale style akin to the father’s bedtime story telling. The writer-director hopes that his audience will also listen intently and resist giving in to the short-attention span that social media has made so prevalent. By forcing Viraj to recount his past in front of Yashna (Mrunal Thakur, spoken by Chinmayi), who had just made friends with Mahi moments before, he puts Viraj in an awkward situation. The author gradually reveals a few tricks from his hat. The events that precede the intermission call for us to accept a few archaic clichés, especially those pertaining to health issues and the hand of fate.
These trajectories can be dismissed, or one can recognize how the writer-director use them to highlight the divergent personalities in a partnership. If Viraj is all about hope, then his wife’s anxiety problems are a result of her upbringing in a dysfunctional household. Promises are made, but fate always plays tricks with them. While the male, likewise grieving, clings hard to a bright spot, the lady wallows in sorrow and guilt.
The tenacity of the lone father is a major theme in the story. Early on, there’s a cute scene where Viraj and his future mother-in-law highlight economic disparities in a scenario that plays out like a seen there, seen that scenario. Viraj responds to her with the strongest possible rebuttal, which makes us support him. The way Nani captures Viraj’s innocence and tenacity—believing in love at first sight and then transforming into a parent who will do anything for his daughter—makes the script appear even better. Easily Nani’s greatest in the emotional department since Jersey, and he has the ability to bring you to tears long after you walk out of the hall.
Hesham Abdul Wahab is a great contribution to the movie as the music composer. Although the songs are enjoyable and hummable, the background score is the standout feature. It is hard not to be moved when the many strains of “Idhe idhe tholisariga…” play at different times. When necessary, he also incorporates the soothing sounds of the waves and silences.
The tale of Mahi’s mother gradually comes to light. These scenes are predictable in a way that illustrates how a powerful romance can triumph over all other factors, even in the face of flaws in its armor. The party song (with Shruti Haasan) and the beach banter seem overdone. Additional characters, including those portrayed by Angad Bedi and Viraj Ashwin, are introduced into the conflict. A playful allusion to Kuch Kuch Hota Hai is included in a remark made at the mandap.
The conclusion of the story is known. However, not just Viraj and his spouse reflect on their parenting, destiny, and relationship during this process. For the elder generation as well, Jayaram’s modest demeanor subtly reaffirms the value of good parenting and affection.
Mrunal, who has been exquisitely styled, really shines in the latter act. In this film, she plays a more nuanced role than in Sita Ramam’s, and she gives it her all. The friend-colleague relationship is easy for Priyadarshi. He blends in with ease and in many places, where he rolls his eyes at the turn of events or nudges things in a certain direction, he is us, the rational audience wondering where all of this is headed. Child actor Kiara Khanna holds the drama together with her innocence and vulnerability.
A few minor details make the narrative more authentic. The story that begins in Mumbai, travels back in time to Coonoor and then to Goa, reflects the multilingual, multicultural people of these regions with a smattering of English, Hindi and Tamil.
I wish an episode in the final stretch didn’t rely on convenient coincidences. One can argue that elite Mumbaikars keep jetsetting to Goa and it isn’t a surprise to find well-qualified professionals among them. Shouryuv drops hints when he introduces certain supporting characters and their profession. Yet, it came across as filmi(Hi Nanna) . Nevertheless, the narrative has its heart in the right place and hopes that we embrace it despite its leaps of faith.
Hi Nanna is a heartwarming story of a father, daughter and the mother fighting her demons and believing in love. Such stories don’t go out of fashion, and Shouryuv’s drama is a breather amid larger-than-life action entertainers.
