Hello Meera review: Gargeyi Yellapragada excels in a gripping road thriller

3/5

Story:

Meera is set to enter wedlock with Kalyan and is finalising last-minute formalities for the big day in Vijayawada. While she’s on her way back home, a cop from Hyderabad asks her to report to the station at the earliest. Meera’s abusive ex-boyfriend Sudheer has just attempted suicide while mentioning her name in his suicide note. A few hours earlier, he’d also put up a social media post, congratulating her on their fourth love anniversary. Where’s the tale headed?

Review:

Some of the finest films across the globe aren’t a product of great scripts alone; it’s more a result of a filmmaker’s instinctive response to practical issues and limitations. With limited resources at his disposal, Srinivasu Kakarla reimagines his potent script with a single actor and restricts the scope of other characters to their voices. Hello Meera, revolving around the protagonist’s reaction to a crisis, unfolds over a car journey from Vijayawada to Hyderabad over a series of calls.

With its anxious, tense premise, Hello Meera makes for a fascinating experiment. Just when Meera looks set to start a new chapter in her life, the past comes back to haunt her and turns her world topsy-turvy. Beyond a script, there are several technical challenges while making a road film with a single actor - in terms of visuals, sound and the storyteller’s ability to generate drama besides the actor’s performance. The film rises above its challenges confidently and sustains a viewer’s interest.

Telling such a story through the lens of an unapologetic woman provides an added opportunity for the storyteller to discuss a gamut of issues. On the surface level, the film is a thriller that takes intriguing twists and turns, but it is also a commentary on the perils of the digital world and society, how people find it convenient to judge a woman without any basis. Hello Meera touches upon aspects like upbringing, twisted gender equations and addresses several complexities within interpersonal relationships with maturity.

Given the film revolves around a series of calls, the screenplay does get monotonous at times but the director packs in enough variety with his (voice) characters. While the mom is conservative, the father stands by his daughter and the partner sounds slightly insensitive. The cops are quick to demean her; the younger brother tries to shield her and the situation is further complicated by the last-minute tensions around her marriage. In most situations, you empathise with Meera’s plight and root for her.

Most importantly for a conversational film, Hiranmayi Kalyan’s dialogues are spontaneous and avoid every attempt to preach. The screenplay isn’t stuffy despite the overload of conflicts and conversations. While taking the viewer through prominent landmarks between Vijayawada and Hyderabad in the journey, the filmmaker also traces Meera’s psychological evolution effectively. When her near and dear nearly give up on Meera, how does she find strength within herself to confront a problem? The surprise happy ending is of course a relief.

Gargeyi displays tremendous control over her craft in only her second film. She’s fantastic with her range of expressions and ensures that her reactions to the phone calls are organic and don’t appear staged. The character is an apt representation of a modern-day woman who’s independent, forthright and owns up to her past and mistakes. After an impressive debut with Evvariki Cheppoddu, she’s made wonderful use of a once-in-a-lifetime opportunity.

With his understanding of human emotions and relationships, it’s hard to believe Hello Meera is the work of a debutant. The film is very today in its setup, thanks to commendable efforts from the crew. Prashanth Koppineedi’s cinematography craftily captures the various dimensions of Meera’s journey - the lighting, the aesthetics and the use of his surroundings merit praise. Sarath Kumar’s sound design contributes to the authenticity of the setting.

S Chinna’s experience is evident in the terrific, measured background score. Despite the crisp runtime, the filmmaker squeezes enough space for a couple of situational, montage-driven numbers and they don’t derail the pace of the film. Rambabu Medikonda, the editor, ensures a coherent, consistently engaging product.

Verdict:

Hello Meera is a very well-made road thriller that doesn’t get too conscious of being a single-actor film. The gripping premise is backed by an equally impressive screenplay and a fabulous and equally vulnerable performance by Gargeyi Yellapragada. The cinematography, sound design and background score enrich the viewing experience without allowing much space for monotony.