Prabhas is just the kind of a hero that the world desperately needs—one who talks less and delivers more.
Director Nag Ashwin's 'Kalki 2898 AD' is a sci-fi film with mythological elements. (X)
Nearly 6,000 years have passed since the Kurukshetra battle, but the world has taken a turn for the worse. There’s gloom all around in Kaliyuga—oxygen is a luxury and water is the elixir. Yet, there are enough signs of a turnaround in Kasi, and a legend points to the birth of a gifted son who’ll change it all. What connects an ageing ruler to a pregnant woman, an immortal warrior, and a bounty hunter?
Kalki 2898 AD borrows the aesthetic and the tropes of a dystopian superhero film and integrates it with the mythological epic (Mahabharata), establishing a solid context for a viewer to invest in the premise. The consistent mythical links within the story keep hinting at us of a larger purpose at work. Offering a breather from the tense backdrop is its light, playful exterior.
The orphaned protagonist Bhairava is neck-deep into debt. It has been ages since he’s paid his rent and his only companion is an AI automobile made out of trash, Bujji. Whenever Bujji starts flattering him beyond necessity, Bhairava gets uncomfortable. He’s too reluctant to get into a fight in the morning and wants a few minutes of sleep before unleashing his powers.
The ‘unconventional hero’ character is relatable and ideally tailored to Prabhas’s strengths—a laidback, rebellious protagonist without a cause. Taking a leaf out of Salaar: Part 1–Ceasefire (2023), what Nag Ashwin demands from Prabhas is his stately, larger-than-life presence, and uses passive heroism to generate an aura around his role. A similar strategy is employed to establish the devilish Yaskin and why one must fear him.
BHAIRAVA has arrived…
Dive into the world of #Kalki2898AD at your nearest cinemas!@SrBachchan @ikamalhaasan #Prabhas @deepikapadukone @nagashwin7 @DishPatani @Music_Santhosh @VyjayanthiFilms @Kalki2898AD @saregamaglobal @saregamasouth pic.twitter.com/eDWOiSjxBy
— Vyjayanthi Movies (@VyjayanthiFilms) June 27, 2024
Nearly a dozen other colourful characters are introduced within the first hour and it’s to Nag Ashwin’s credit that they don’t feel like bouncers. Even when the storytelling is sluggish, a handful of cameos add glitter to the show. There’s a disgruntled house owner for humour, a guardian who influences Bhairava’s approach to life, and a fanboy who brings purpose to his wayward existence.
The story is intentionally ‘basic’ (in a good way), and you remain constantly aware of its trajectory. The world-building is organic, the stakes are raised gradually and the film still delivers the highs you expect out of a ‘fan-pleasing’ fare.
One can’t resist quoting Dil Raju’s words from his famous speech—“Action venuma; irukku. Romance venuma; irukku. Comedy venuma; irukku.” (Looking for action? It’s here. Craving romance? It’s included. Need a good laugh? That’s covered as well.)
The high-voltage action sequences aren’t only about the muscle flexing, the choreography is innovative and not all ‘gadgety’, striking a balance between tradition and modernity. There’s quirkiness, and mischievous humour to spice up the setting. The use of nature’s five classical elements in the film’s crucial junctures lends depth to the mythical universe, indicating the craftiness of the storytelling.
Nag Ashwin, skilfully, deals with the drama and doesn’t reveal all his cards at once— the backstories are smartly scattered across the narrative to add an element of mystery. There’s a beautiful scene where ‘marriage’ is described as an old tradition and Kyra adds how she would want a companion to lean on, amidst her world-saving endeavours.
— Kalki 2898 AD (@Kalki2898AD) June 27, 2024
However, barring Kyra, the only female character who’s ready to take charge of her destiny, it would’ve been ideal for Nag Ashwin to raise the bar and go beyond the typical ‘male saviour’ trope in a superhero film. Most female characters are either vulnerable or the epitome of sacrifice, waiting to be rescued by men—it’s unfortunate how some things don’t change, even in a futuristic world.
It has taken four films post-Baahubali (part 1, 2015; part 2, 2017) for Prabhas to get back to his usual, happy-go-lucky ways and he is just the kind of a hero that the world desperately needs—one who talks less and delivers more. Deepika Padukone plays an expectant mother with the right gravitas and grace. Being the film’s primary emotional link, her portrayal holds the film together amidst the bravura of the powerful men.
Amitabh Bachchan is an ideal casting choice for Ashwatthama. His authoritative persona and the fatigue, in his baritone voice, make it easy for the viewer to buy his performance as the cursed warrior. An unidentifiable Kamal Haasan delightfully lets himself loose in the shoes of a much-feared totalitarian, in a brief cameo. Apart from his creepy appearance, it’s his remarkable dialogue modulation (during “maro prapancham vastundi”) that sends chills down your spine.
#Kalki2898AD is all yours now!
Experience a new world at your nearest cinemas from TODAY 💥@SrBachchan @ikamalhaasan #Prabhas @deepikapadukone @nagashwin7 @DishPatani @Music_Santhosh @VyjayanthiFilms @Kalki2898AD @saregamaglobal @saregamasouth pic.twitter.com/s47JGQqov6
— Vyjayanthi Movies (@VyjayanthiFilms) June 26, 2024
Many characters—played by Shobhana, Brahmanandam, Pasupathy, Anna Ben, Saswata Chatterjee, and Harshith Reddy—have their moment in the sun. In the ‘starry special appearances’ category, Dulquer Salmaan and Vijay Deverakonda take the cake. Disha Patani, in an extended cameo, isn’t offered adequate scope to shine. Keerthy Suresh’s dubbing for Bujji lightens up the proceedings on a handful of occasions.
A collage of stills from ‘Kalki 2898 AD’. (X)
Djordje Stojiljkovic’s muted colour palette (except for a dance sequence), Nitin Zihani Choudhary’s intricate production design and the stellar VFX bring much-needed credibility and authenticity to Kasi, Shambala, and the mythological segments, across varied terrains. Santhosh Narayanan’s brooding music score adequately complements the grim setting, though the songs are far from memorable.
Kalki 2898 AD offers us the ultimate satisfaction of watching a homegrown superhero derived from our ethos and roots. It’s a joy to watch a devilish antagonist quote, Sri Sri’s ‘Jagannatha Rathachakralu,’ paving the way for a sequel.
There’s so much that the film packs in beyond the ‘good versus evil’ tale, utilising ‘amma’ sentiment minus the flab and melodrama. Drop everything, buy your popcorn tubs, and savour this spectacle.
(Views expressed here are personal)
(Edited by S Subhakeerthana)
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