Hi Nanna Movie Review

                                                                 Hi Nanna Movie Review

Hi Nanna is a strange movie. The best way I can describe it is that involvement is never impeded by familiarity. You can't help but be moved by it, but you can't tell someone the tale without it seeming like a rehashing of a thousand different thoughts.

The filmmaker Shouryuv takes what is essentially a cliché and modifies it using a variety of techniques. It's in the manner he manipulates viewpoints in the flashback, which is split into two sections: nanna katha and amma katha. Although the story's purported "amma" is told from Viraj's point of view, we do learn a little bit about Yashna (Mrunal), including the corny examination of divorce, but what really draws us in is the nanna katha. Consider the uninteresting story element of a mother's criticism of her daughter's romantic partner. The dialogue between the man and the mother becomes one between two parents who desire what they believe is best for their children as it reaches the breaking point and a confrontation is about to happen.

Hi Nanna tells the tale of two individuals. Being a single parent, Viraj bears the burden of a sick child, and it is evident. Yashna, who is engaged to a doctor, is drawn to this girl and her father for no apparent reason. The concept that your body may recall things your brain may have forgotten is used to great (sappy yet eternally magical) effect in the movie. The kindness is what remains with you after many twists and turns. How the movie honors the girl who helps Viraj get Pluto, the dog. These scenes are essential to making a movie memorable, although they are not required for the plot. It was comforting to watch two men raise a girl after last week's adrenaline rush.

Anantha Sriram's "Gaaju bomma" is how the movie introduces the audience to its world. Mahi, the 6-year-old child with a life-threatening, incurable respiratory illness, is stronger than she appears; therefore, that description is inaccurate. When her father, Viraj (Nani), looks at her, he sees gaaju bomma, a vibrant item that gleams brightly and catches the light but is always just one bump away from shattering.

 I found Nani's performance in this movie to be really intimate. When an actor uses the same experience—in this case, parenthood—as the audience to relate to and comprehend a character, it's a personal experience. After a point, the performance becomes a little monotonous for the same reason. It would be unjust to label it predictable because it continues to have an impact and move the movie along, so let's go with reliable.

However, Mrunal's portrayal is a live wire; Yashna is in a constant state of discord, first because she is in love with a man who is chipping away at her realistic exterior, and then when she has an accident and is unsure whether a memory is a memory or a dream. It is also a flaw in the writing that Yashna never receives a resolution, as the film's idea of a happy ending cannot be hers as well, where she is deprived of the right to tell her own story. Even the 6-year-old is considered stronger than her mother. Despite the messiness, Mrunal portrays Yashna with envious precision, embodying the many things the character loses and gains throughout the film.

Although the Shruti Hassan cameo seems superfluous, I have a suspicion that it serves as a teaser for the trailer. The choice to cast Angad Bedi as Yashna's fiancé is also purposeful; it invites the audience to anticipate the worst and then be taken by surprise. Economical casting decisions enhance the viewing experience without requiring any action from the movie. It's good to have a filmmaker who can make these decisions in his debut.

I did, however, return home and look up cystic fibrosis on Google. It sounds nothing like what the movie makes it out to be. I understand that it's simple to move on, but why even make a mistake that can be simply prevented? The way Yashna is worded also made me uneasy. The characters described her as someone who gave up when things got hard, but I didn't understand or value that. She speaks something she most likely doesn't mean in a fit of emotional rage. People who are hurt hurt people. It is comparable to an earlier outburst that Viraj immediately retracts. That was not an option for her. For the sake of plot convenience, the writing, which ought to know better, lends it more significance than is necessary.

Stories where a character is supposed to be thankful for something they didn't ask for or know about also bother me. Yashna never requested that her past be kept hidden from her. Even though she is rarely joyful, others around her persuade themselves that they are doing it to keep her happy. Despite its various facets, good writing is never unjust or manipulative. Hi Nanna occasionally is.