Mrunal Thakur story that begins in the restroom of a Mumbai hotel. Days before the premiere of her debut film Love Sonia in 2018, the actor bumped into a journalist colleague after a packed afternoon of media interviews. Mrunal was already a known TV face by then, but shared about being nervous transitioning to films, especially with an unconventional movie. She could have chosen to wait for a safer option, but something about the film "spoke" to her, she said
Six years and a dozen films later, it is easy to map the rise of Mrunal Thakur-- the Marathi mulgi who has whipped up a Telugu storm by following her heart, even if it defies industry norms.
Taking a break from dubbing every new breakout female performer as its national crush, the internet is currently, although quietly, gushing over what Mrunal has managed to do in her recent Telugu romantic drama Hi Nanna. Directorial debut of Shouryu, Hi Nanna (Hi Papa, in Hindi) is headlined by Nani, whose filmography is dotted with winning acts in the genre. Yet so much of the film is anchored by Mrunal, who crafts a genuinely heartwarming performance that holds it together even when the writing becomes contrived, climax is stretched, and a needless dance number grooves its way
It must be interesting being Mrunal Thakur, the actor. She made her debut in a well-intentioned international feature, starred opposite Hrithik Roshan in her first mainstream Hindi film then got lost in sincere but underwhelming projects, only to emerge as a stronger actor in films of a language she wasn't born in--Telugu. It is a pity that none of the Hindi feature films of Mrunal--with acclaimed directors at that--have been able to give her what her two Telugu releases, Hi Nanna and Sita Ramam have managed--the platform of a performer and the presentation of a star
In Sita Ramam and Hi Nanna, the camera romances Mrunal in a way that it is impossible to look away. In the former, she enters the frame 50 minutes into the romantic drama. A train coupe door slowly slides open, as the compartment emerges from the darkness of a tunnel and the voice-over of Dulquer Salmaan builds a mythical hype of the woman he is about to meet. Mrunal, in her Telugu debut, stands there in a white saree. She doesn't speak. Both Dulquer, and the audience, are smitten; both with the same question in mind: How can she not be the one?
A similar scene follows even in Hi Nanna--where she gets an almost hair-flip entry scene--where Mrunal and Nani share a beautiful moment on a Goa beach. He is describing to her--no spoilers--what his wife looked like. The scene works not only because of the dialogues or Nani's delivery or the lilting background score but Mrunal, who keeps looking at him, gently, in love, letting only her eyes speak. It is a wonderful scene, elevated simply by Mrunal's remarkable ability to channelise romance through her gaze, and it remains surprisingly aspirational. The question here, despite the tonal difference of the two films, is still the same: How can she not be the one?
But here's what makes her two South releases free from a trap that some actors previously have fallen into-- the gaze. It is a mean term may be, but many actors before have fallen prey to being reduced to what is essentially called a 'flowerpot'. Such roles are blinding, because they lead to massive popularity and help garner a certain fan base. But then, as history is a witness across industries, if one doesn't branch out of this comfort zone, the end is always the same -- one starts getting replaced by the newest one, who gets the onus of such stock roles.
A-list star vehicles, especially in Tamil and Telugu, have rarely given their female actors something worthwhile to bite into. The women exist in the narrative because the men do. But Mrunal's choices so far have carefully avoided that. Both her Telugu films have been romantic dramas and the genre itself assures women a lot more agency and narrative call, even if the story is followed from the men's point of view. In Sita Ramam and Hi Nanna, Mrunal's women exist, because the men just can't be without them.
The sensitive and poignant Hi Nanna as her second Telugu film isn't a surprising choice from Mrunal. The actor had earlier told Indianexpress.com how navigating her career post Sita Ramam was difficult. "Yes it is tricky. There was a time when for a long time I didn’t sign any Telugu film. It was important for me to believe in a character and a story. I signed Hi Nanna after a year because I resonated with the film and believed in it. I want to spend those 100 days excited for something, otherwise what’s the point?"
Not that Hi Nanna, as a film isn't without its faults. It is saccharine sweet and runs on a determined, almost bullish sentimentality but all that eventually largely works because it remains a fairly sincere film which gives Mrunal at least two standout scenes to showcase her range. Just like Sita Ramam--and especially its climax-- Mrunal shines in quieter moments which suitably elevates the high emotional beats in the film. Her performances have pretty much established that the actor is reliably delivering charming dramas, even if Bollywood isn't looking in that direction. Mrunal Thakur, with Sita Ramam and Hi Nanna, proves that she is the flower, not the flowerpot.
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