Inspired by Hindu scriptures, writer-director Ashwin Nag creates a visually striking futuristic dystopian drama. Amitabh Bachchan shines in his portrayal of the immortal Ashwatthama.
Rating: ⭐️⭐️⭐️💫 (3.5 / 5)
By Mayur Lookhar
We live in Kaliyuga, and unfortunately, we are still hundreds of thousands of years away from this age ending. According to Hindu scriptures, Kalki, a Vishnu avatar, will end Kali Yuga by defeating the demon Kali and ridding the world of all evil. The concept of a divine avatar or savior isn’t limited to Hinduism. While no one from today, or even many centuries later, will be around to witness this, the unfolding of such prophecies has always been a fascinating thought.
Such imagination is beyond the realm of mere mortals. Here we have Nag Ashwin, a 34-year-old filmmaker drawing inspiration from Hindu scriptures to craft his visually spectacular world of Kalki 2898 AD. The teaser and subsequent trailer evoked varied reactions, drawing comparisons with foreign films. If Indian civilization is one of the oldest, with Hinduism perhaps being the oldest faith in the world, it is only fair to say that the stories in our Puranas and other scriptures have served as inspirations for cinematic arts worldwide. Despite this rich heritage, Indian cinema has been somewhat been late in fully exploring its own epic narratives. Now armed with the resources, reportedly a ₹600 crore budget, only affordable by Telugu cinema, Ashwin, his producers Vyjayanthi films, have created Kalki 2898 AD.
Nag Ashwin’s film opens with a pivotal chapter from the Mahabharata, depicting the moment when Lord Krishna curses Ashwatthama [Amitabh Bachchan] for mistakenly killing Draupadi’s five sons, believing them to be the five Pandava brothers. Though Ashwatthama expected death, Krishna cursed him with immortality and foretold a future opportunity for redemption.
Many centuries later, in 2898 AD, the sacred town of Kashi stands as the last bastion in the world, ruled by the malevolent Supreme Yaskin [Kamal Haasan]. This 200-plus-year-old demon seeks a fertile mother whose divine newborn will infuse new life into him and grant him limitless power. He has sacrificed countless mothers and their fetuses before in pursuit of this goal. The only one who can save the unnamed mother [played by Deepika Padukone] and her unborn is the immortal Ashwatthama.
Though influenced by Hindu mythology, Nag Ashwin hasn’t confined his story or characters to existing literary texts or illustrations in the public domain. Science will continue to reinvent itself, so technology naturally plays a pivotal role in the world of Kalki 2898 AD. Recently, such content has been labeled as Spicepunk. One writer described it as a wave of speculative fiction and fantastical art that challenges Westernized hegemonic modernity with alternative visions rooted in Southeast Asian heritage and history.
Phew, these are heavy words for the humble desi audience, who are largely interested in visual appeal and entertainment value. Kalki 2898 AD [2024] though, is not leave-your-brain-behind cinema. But neither is it a mindf**k. Indians today take pride in rediscovering their roots, but how many of them go beyond social media posts to read about Bharat’s culture and history? The video medium is ideal for education, and Kalki 2898 AD is likely to further pique that interest.
Kalki 2898 AD is rooted in mythology, but its vision belongs solely to its creator, Nag Ashwin. For a 34-year-old to conceive such a spectacle is a testament to his knowledge of mythology and unique visual storytelling. It blends culture, science-fiction, desi humour, and engaging drama seamlessly. The penultimate flashback visuals from the Mahabharata perhaps reveal Ashwin’s respect for Ashwatthama and another intriguing character from the Hindu epic. No, it is not Krishna, who is only shown through a silhouette. Perhaps Ashwin viewed these characters through the eyes of a Barbarik, an unheralded but powerful warrior from the South who, on Krishna’s orders, sacrificed his head. Whether it will antagonize Pandava loyalists is a matter of individual opinion.
An Indian film inspired by Hindu mythology, but Kalki Is no religious film. In fact, religion is redundant here, with Supreme Yaskin called as the one and only God. Much like our stories from Ved Puranas, other cultures, too, have their version of a divine savior. The presence of actors of Mongoloid features, Western nationals, even Muslims make it an inclusive film. Mariam (played by Shobana) has both Quranic and Biblical references (as Mary). Then there’s Shambala, also known as Shangri-La to Tibetan Buddhists, a mythic utopian place of peace and tranquility. Kalki’s inclusivity and avoidance of cultural imposition add to its global appeal.
The screenplay is fairly engaging, but the Hindi dialogues feel somewhat awkward in certain scenes, particularly those involving Bhairava [Prabhas]. While we trust Ashwin to capture the right tone in the primary Telugu version, the mix of Hindi and English words in many sentences can be off-putting. It might have been wiser to dub those sentences entirely in Hindi or English. They’re not quite pedestrian, but neither are they Adipurush-like. One, though, cannot fathom how the antagonist’s so-called utopian world is called Complex. Guess it’s just a vanity show meant to give inferiority complexes to the commoners.
Prabhas may be the rebel star, but it’s Amitabh Bachchan as Ashwatthama who headlines Kalki 2898 AD. How fortunate is the veteran to be able to play such a character at 80 years of age? Add to it the allure of superhero action, and digital de-aging, Bachchan would have felt like the ‘Angry Young Man’ again. He even gets to croon a song. It has its Rozana hangover, but never quiet in the Nishabd [2007] league. The theatrics aside, the veteran delivers a convincing act, offering a refreshing portrayal of the historic character.
Like Bachchan, Kamal Haasan also gets to play a role of a lifetime, though it’s not his first negative role. Decades ago, a young Haasan played a psychotic killer in Sigappu Rojakkal [1978], a character who preyed on innocent women. In Kalki 2898 AD, there’s no lust, but Supreme Yaskin has the blood of innocent women and their newborns on his hands. Yaskin is Ashwin’s version of Kali, the mythical demon and chief foe of Kalki. While the word Yaskin sounds foreign, its Sanskrit meaning is glow. Yaskin isn’t glowing to begin with; he features in just two sequences, but they are the most impactful and visually intimidating. Prosthetics and Kamal Haasan go a long way. This Yaskin, however, is an altogether different beast. His physical form is largely CGI, but that deep Haasan tone is haunting and inimitable.
Prabhas has cut a sorry figure since Baahubali. Many may have overestimated his prowess, forgetting that it was Sharad Kelkar who voiced for Baahubali in the Hindi version of the blockbuster franchise. There’s no Kelkar here. Instead, we’re informed that Mohak Ninad has dubbed for Prabhas. His fans and PR have been loyal, keeping the brand ‘Rebel Star’ alive. Bhairava isn’t exactly a rebel, but Ashwin smartly pays tribute to his rebel fans. He’s a bounty hunter who dreams of buying a good life in the Complex. The word Bhairava means fearless and is also an avatar of Lord Shiva. Nag Ashwin’s Bhairava has a backstory and a surprise ancient past. Prabhas is sluggish at first, but he ups the intensity when it matters.
He has the big frame, but still lacks the agility for riveting action. His opening combat is lethargic, but the humorous undertone makes it pardonable. His two conflicts with Ashwatthama, though, will break the house down. If there were cheers in a press show, rest assured that fans will go bonkers in a regular show. Okay, the first fight sees him in a Transporter-like machine, but the action choreography is original. What’s bizarre is how a man who had only 250 units (digital currency in this world), and then even ran out of it, could upgrade his cute AI Bujji (voiced by Keerthy Suresh) into this Transporter-like weapon? As an actor, Prabhas will always have critics, but what’s admirable is that he looks happy here, which wasn’t the case with his preceding films.
Women in Yaskin’s world are largely slaves, making Disha Patani’s appearance in her usual glamorous avatar surprising. Roxie [Patani] turns out to be a bounty hunter like Bhairava, possibly the only woman hunter in Kashi. However, the Roxie-Bhairava bond feels staged, and their detour in the utopian gardens of the Complex is rather blah.
Despite being a slave, Deepika Padukone’s character sports a stylish hairdo. The unnamed pregnant woman she portrays is the focal point of this story. Padukone is fairly intense in her damsel-in-distress role. Initially unnamed, she is later called Sumati by the Rebel spy Kaira [Anna Ben], who impresses in her cameo role. Perhaps the pregnant Sumati inspired Padukone to embrace motherhood.
Nag Ashwin throws a few surprises, with some popular faces from South Cinema making special appearances. It’s best for viewers to discover these for themselves. Meanwhile, Saswata Chatterjee hams it up as Marnus, the commander of Yaskin’s army. Then there’s a henchman whose look and hairdo partly mirror that of Taserface from the Guardians of the Galaxy franchise.
A powerful story comes alive through top-notch cinematography by Serbian lensman Djorde Stoiljkovic and Nitin Zihani Choudhary’s creative production designs.
Though far from perfect, Nag Ashwin reminds us of our cultural treasure that has existed for ages, yet few have had the vision and skills to utilize it for a compelling cinematic experience. The Kalki 2898 AD era has just begun. One can’t wait for the second chapter in this futuristic dystopian saga. After all, Bhagwan Kalki is yet to arrive.
Watch the video review below.
