‘Oknaga’ Movie Review: Sumant leads a intimate story of education and relationships

In the heart of the film, Vyas Kumar is a storyteller-teacher who was played with calm honesty by Sumant, in one of his most fine roles. He learns life for children who find it difficult to absorb traditional methods.

Marathi film relaxedly adapted Ika kya jala, Unknown Using its story as a benign teaching tool, protests for simplicity. Like Taare Zameen ParAnd 35It follows an familiar Dalit arc, gives his message with warmth and clarity without talking to its audience.

In the initial parts of UnknownVyas (Sumanth) enters a broad, high pressure international school with a wide smile, immediately confronts the school president (Srinivas Awasarla) with strict guidelines. From that moment, the arc of the story seems to be approximate, yet it wins the audience by strengthening the value of storytelling as a learning tool, which offers the option of root education.

Vyasa’s home life moves parallel to his teaching journey. His wife, Bhagya (Kajal Chaudhary), is the principal of the school, and his son Ram (Viharash) is one of the many students who are struggling to keep. While Vyas is hot and easy, Bhog has stress to be the primary provider of the family, and his stress often leaks in his personal life. Stress between the couple -firmly, often in front of a mirror, visually strengthens its different world interviews and emotional states.

Vyas can be dismissed as a “unsuccessful story” Unknown Not only a teacher who works in his own way. This silently examines deep questions: Do parents or teachers ever stop to ask what is really to scare a child? What if a student who struggles, not with the decision, but with assurance that failure is not the end of the road?

The film takes a difficult look on the deepest side of the academic competition – rewarding toppers with podium finish, while publicly evacuating those who fail, even resort to physical punishment. It advocates sympathy in education and asks what is lost when sports and personality development is excluded from the tyranny of signs. This reminds us of those moments when the period of a dreaded science replaced a dear language class, and it gives its calm power to the familiar film.

In its final stretch, Unknown The land familiar with a health -related subplot is the risk of feeling clinch. But for its credit, the story uses this moment with care – to reflect the first question given to Vyasa: What will he leave for his son? The leveled answer in the philosophy of the film is not physical, but an emotional heritage.

Anu Hassan’s hot cameo provides an important perspective, gently peeling back the layers of the formal effects of the diameter of the diameter. Even the storyteller, it seems, needs to catch his story. His brief role helps underline the central idea of ​​the film that the strength sometimes comes from looking inwards, to move ahead of finding the will again.

Visually, nothing seems. Holy Pappula’s cinematography, Chandu Ravi’s gentle score, and the disinterested production design keeps the film grounded. Some characters may lack dimensions – such as the president of the overbering school – but the film does not stumble because of them.

Unknown A familiar arc can follow the arc, but it makes its point with grace. It celebrates the storytelling not only as a teaching tool, but as a way of treatment, and what really means what matters.