After the grand success of a tough Dussehra hit, Nani has chosen to collaborate with a promising director for the family-centric love story, “Hi Nanna.” Following her impactful portrayal as Sita in last year’s Sitaramam, Mrunal Thakur returns with “Hi Nanna.” With Hesham Abdul Wahab’s soulful music, which has already left an impression this year, the film aims to bring family audiences to theaters.
“Hi Nanna” narrates the story of Viraj (Nani) and his 6-year-old daughter Mahi (Baby Kiara Khanna), leading a content and self-reliant life until Yashna (Mrunal Thakur) inadvertently enters their happy world. Viraj, a fashion photographer in Mumbai, revolves his life around work and his daughter. The family is completed by Dada (Jayaram) and their dog Pluto. Mahi, battling cystic fibrosis, refers to her condition as ’65 Roses’ with innocence.
The absence of Mahi’s mother is a daunting presence felt by the daughter continuously, who knows nothing about her. Despite promises to tell her story, Viraj avoids discussing her with Mahi, who is clueless even to the extent of not having a photo of her in the house. After Viraj breaks his promise once again, Mahi, feeling endangered, leaves home one morning. She is rescued by a passerby, Yashna. Yashna, by saving Mahi, indirectly forces Viraj to talk about Mahi’s mother.
Finally, Viraj unfolds the tale, and it turns out to be his love story with Varsha (Mrunal Thakur, again), which took place in Kunnoor. Their love story, between an emerging photographer and a tourist, blossoms amidst all odds and culminates in marriage. Why their bond broke forever, where Mahi’s mother is now, and what happens to Yashna, who finds herself drawn to the father-daughter duo, is the remaining story.
“Hi Nanna” is a serene tale of love that progresses in an emotional and sentimental manner, fighting all obstacles for love. The film effectively establishes the father-daughter bond, especially in the first part, which ends on a poignant note, hinting that a cruel twist of fate might have ruined this love beyond repair.
In the second part, some scenes seem repetitive, as the story does not introduce anything new. Yashna’s imminent marriage feels like something you can overlook for a long time in the story. The need for Mahi’s mother is pushed to the side in the central struggle between the main couple. When Mahi finally learns the truth about her mother and the turn of events in Jayaram’s character, it adds momentum to the narrative.
Structurally, the film is well-packed in the first part, while the struggle between the main couple takes center stage in the second part. Some scenes could have been improved, especially those related to the daughter. The love story also feels somewhat predictable. The struggle point might not be perilous for many, as it’s a personal psychological fear. The second part, where the director, writer, and others could have done more, seems sluggish at times. However, it’s a commendable start.
Nani and Mrunal Thakur leave an impact with their performances. Mrunal’s character in most of the film stands out and deserves praise. Jayaram, Priyadarshi, Nassar, Angad Bedi, and others play their roles well. Baby Kiara Khanna’s character is congenial, and she is presented effectively.
Shanu John Varghese’s camera captures Ooty, Goa, and other locations beautifully. The close-up shots in the second part give an honest performance. Hesham’s music, reminding us of the joyous track, contributes well to the film. Costumes and other production values are top-notch. The debutant writer-director has chosen a challenging subject. Some Hollywood films might be unavoidable for comparison. Perhaps, he faltered on certain points because his focus shifted quickly, and the second part lacked notable events. Still, it’s a commendable start.
Predicting the box office fate of the film will be premature. The absence of mass entertainment might be a factor in deciding the film’s immediate appeal. But why aren’t Telugu filmmakers – who have been entrenched in commercial entertainment for the past few years – producing emotionally inspired films like this? Nani deserves commendation for choosing content like this after “Jersey.”