‘Kalki 2898 AD’ movie review: Prabhas and Amitabh Bachchan shine in a gripping drama

We need not look beyond the Indian epics for interesting, complex stories of good versus evil, superheroes and demons, darkness and dawn. Kalki 2898 ADDirector Nag Ashwin has attempted an unusual meeting point of the past and the future by blending the stories of the Mahabharata with a futuristic, dystopian science fiction world. He emphasises that heroes are not born, but grow. The masterstroke lies in casting the indefatigable Amitabh Bachchan as Ashwatthama, the oldest man alive in the Kurukshetra war, and making him the backbone of the narrative. He is pitted against Bhairava (Prabhas), to set the stage for the arrival of Kalki, the final incarnation of Vishnu. The film takes huge leaps of faith and has awe-inspiring segments. Kalki 2898 AD Is it a game changer? In terms of ambition, yes. In terms of writing and storytelling, there are some minor flaws.

The narrative moves back and forth from the Kurukshetra War to Kashi and Shambala, 6000 years after the war. Kashi is depicted as the last surviving city, but everything is in disarray. The mighty Ganges has dried up and food is scarce. Everything necessary to sustain life – water, food and air – is within a complex, a huge inverted pyramid structure that is out of bounds for ordinary people, and ruled by the Supreme Being Yaskin or Kali (Kamal Haasan). Shambala is a hidden refuge for people of different religions and cultures who are willing to risk their lives for a better tomorrow.

A lot of hard work has gone into the creation of these worlds – the Kurukshetra battlefield, Kashi, Shambala and the campus. Kalki It attempts to immerse the audience in the large-scale battles and unexpected partnerships that take place between these worlds. It is not just a good-versus-evil tale of superheroes and demons. It also tries to pay homage to Telugu classics, contemporary mainstream ‘mass’ cinema, and a nod to comedy. Some of these work, while others seem inappropriate. For instance, two popular directors appear in cameos; these parts could have been better suited for Instagram reels and memes, but seem out of place in this story.

In a runtime of 181 minutes, the first half kicks off the story and establishes Bhairava as a cool bounty hunter who is still yet to find his true motive. He wants to earn a million units (a measure of currency) and enter the complex to live a good life. But his moral compass remains unclear. Bhairava’s introduction and him facing a dozen people, superficially, seems like any Telugu film with an A-list star. It pays off later when he takes on Ashwathama in a long but delightful scene. This is the time one really appreciates the relationship between Bujji and Bhairava.

Bujji (Bujji-1, voiced by Keerthy Suresh) is Bhairava’s AI (artificial intelligence) powered custom-made vehicle. Bhairava and Bujji share a unique partnership, but we get only a brief description of Bujji’s origin story. Animation prequel series Bhairava and Bujji (streaming on Amazon Prime Video) is funnier. The same goes for the bond between Bhairava and his landlord (Brahmanandam). The dialogues (by Sai Madhav Burra) don’t always hit the mark.

Amitabh Bachchan as Ashwatthama in ‘Kalki 2898 AD’ | Photo Credit: Special Arrangement

The romance track between Bhairav ​​and Roxy (Disha Patani) is a hindrance and I waited for the story to move forward. Roxy has been brought in for a reason – to introduce Bhairav ​​and the complex to the audience, but there could have been better ways to do so. A few other cameos in the initial portions also miss the target, except for the one played by Mrunal Thakur. The actor featured as Bhairav’s father and two other cameos that make a glimpse and disappear appearance in the song featuring Bhairav ​​and Roxy are nods to those involved in Vyjayanthi Films’ earlier ventures, rather than adding depth to the world. KalkiOh, there are other cameos too in parts of Mahabharata that serve as surprises.

Also Read | ‘Kalki 2898 A.D.’ trailer breakdown: From ‘Dune’ to ‘Blade Runner’, here are the sci-fi inspirations

Notable moments in the first part include the introduction of evil in the form of the supreme Yaskin, Kamal Haasan enjoying an ominous turn, Sumathi’s (Deepika Padukone) desire for a better life as a lab rat and motherhood, and Ashwathama’s realisation that the time has come for his final battle.

Kalki 2898 AD It finds its rhythm in the later portions, providing the much-needed emotional gravitas through Sumathi. Mariyam (Shobhana), Veeran (Pasupathy) and Kaira (Anna Ben) are among several other characters. There are the complex’s masked attackers (costume design by Archana Rao), hundreds of them in black attire, clashing with the Shambala army in white. It makes an impact when we get a closer look at the residents of Shambala, across cultures and religions, and why they seek hope. Amid action episodes involving futuristic machines, a few moments underline how life as we know it has changed beyond recognition. For instance, Sumathi is trying to understand the idea of ​​marriage and the afterlife.

However, the writing is not free from predictable arcs. When a character repeats that his name is a symbol of good luck, we know what is coming next.

Despite the gradual building of the world and characters in the first hour, the payoff comes in the form of a battle between Ashwatthama (referred to at one point as an ‘angry giant man’), Bhairava, Bujji who transforms into a giant machine and Commander Manas (Saswata Chatterjee) involving futuristic guns, laser-powered detonators, flying machines and more. As a visual spectacle, it is spectacular on the big screen and Kalki Sets a new standard.

The 17th-century scholar Thomas Fuller states, ‘It is always darkest just before daybreak.’ The essence of his words resonates across cultures and religions. When the world is torn apart by conflict and people are distraught to the breaking point, hope and light cannot be far away. The production team, led by cinematographer Djordje Stojiljikovic and Nitin Jihani Chowdhary, has painted a gloomy dark world, bathed in muddy greys and ominous blacks, and hope comes in the form of sunlight that struggles to come in, a hint of glow and warmth from fires, and so on.

Amitabh Bachchan makes his character larger than life, playing the mighty Ashwatthama who is almost eight feet tall. He towers over everyone else and his mannerisms show who is the boss. He looks completely believable when he throws people and machines into the air. Kalki The strengths of Prabhas’ stardom are also showcased, with the actor trying to be a modern-day superhero, with no shortage of attitude. The reveal about the final parts is a big, pleasant surprise and adds to the excitement for the Kalki Cinematic Universe (yes, there will be a second part). Despite this, the ending also felt abrupt, rather than a cliffhanger.

The music is also somewhat hit-and-miss. Santosh Narayanan pays tribute to the Bhagavad Gita and old Telugu classics, and then surprisingly veers into futuristic gaming zone territory. However, the songs take a while to get to grips with.

Kalki’s There are many subtexts in the narrative that need to be understood even after the film is over. The similarities between Yaskin and Kansa, the design of the complex, the environment around Yaskin and the flying machine used by Manas. There is a lot to appreciate. I wish it had made a more coherent narrative by sidelining the dull romance and weak dialogues. Despite these shortcomings, Kalki This is a bold new effort that deserves massive praise.

(Kalki 2898 AD is currently running in theatres; this reviewer has seen the film in 2D)