Indian cinema is shifting to this new fusion of old historic settings mixed with sci-fi, and “Kalki 2898 AD” is a new addition to this faction.
Nag Ashwin’s fourth directorial is set in an apocalyptic age. A group of rebels is on their way to prepare for the arrival of the last avatar of Vishnu, Kalki.
The film opens with a glimpse into the past, revisiting the final moments of the legendary Kurukshetra war. We witness Ashwatthama, cursed with immortality by Krishna, yearning for the arrival of the next Vishnu avatar. This scene transitions to a future Earth, ravaged by time and human folly. The year is 2898 AD, and the once-great civilization has crumbled. Kasi, a desolate city, is a lone survivor in this dystopian landscape.
Supreme Yaskin, a ruthless god-king, reigns supreme. He rules from the “Complex,” a towering megastructure that sucks the lifeblood out of the Earth to sustain a luxurious paradise for the privileged few. Those deemed unworthy are left to scrape by in the squalor below. Fear and oppression grip the land, but whispers of a prophecy persist – the arrival of Kalki, the tenth and final avatar of Vishnu, who will restore balance. The narrative introduces us to various factions: the rebels fighting for freedom, the enforcers of Yaskin’s regime, and the immortal Ashwatthama, burdened by his curse but clinging to hope.
The world of “Kalki 2898 AD” is a fascinating tapestry woven from diverse threads. Ancient Hindu scriptures and their mystical elements intertwine with the grimy neon-drenched atmosphere reminiscent of Blade Runner. Dune-like desert landscapes sprawl beneath the oppressive shadow of the Complex, a brutal reminder of humanity’s dwindling resources. Bounty hunters like Bhairava roam this desolate world, their motivations a mix of desperation and survival. Hidden beneath the surface lies Shambala, a secret haven for rebels, echoing the mythical Shangri-La or the technologically advanced Wakanda from Black Panther. This eclectic mix of influences creates a visually intriguing world, but the film struggles to explore its rich potential fully.
The film has grand visuals, setting the potential for an amazing visual of a future Earth brimming with sky-high structures and advanced technology. While glimpses of this world hold promise, the ambition is undercut by unconvincing special effects (VFX) and computer-generated imagery (CGI). There’s a lack of polish, with fight scenes and futuristic landscapes appearing more video-game-like than awe-inspiring. This is particularly disappointing considering the film’s hefty budget.
The film’s core concept—a modern Vishnu avatar battling evil in a dystopian future—is undeniably intriguing. The rich tapestry of Hindu history and mythology offers fertile ground for exploration, and the potential for a visually stunning and thought-provoking sci-fi epic is evident. However, the script fails to capitalize on this potential. The plot is clichéd and derivative, relying on predictable tropes and recycled storylines. While ambitious, world-building borrows heavily from established sci-fi franchises like Marvel, Dune, and Blade Runner, lacking the necessary originality to stand out. And because of the overcommercialization of the film’s tone, the potential goes from being a rich mystery filled with conversation-worthy arcs to cheap masala films with overly done baseline plots. The concept, though grand, is ruined by the comedy and bland showcasing of power in the fight scenes. Even the good parts of the film get overshadowed by it.
This trope of having something grand built out but then mixing it with a Western touch completely ruins the film’s aesthetic. The over-commercialization of sci-fi cinema, with films like Kalki and Brahmastra and audiences supporting them mindlessly with no constructive criticism, sets a bad precedent for all that is to come.
The film shows Prabhas in between a bounty hunt, and frankly, this might easily be a contender for the worst protagonist entries ever. His entire gig is overacting to the point where people would just want to get up and leave. He just slows the film down in a bad way. The script is horrible, but the character written for Prabhas, especially in the first half, is even more horrible. Every scene he is in feels boring. I would’ve left the screening if it weren’t for Amitabh Bachchan. Even the fight scene between Bhairav (Prabhas) and Ashwatthama during the bounty hunt is boring when Bhairav starts showing off his technology.
Amitabh Bachchan delivers a compelling performance as Ashwatthama, the immortal warrior cursed by Krishna. He embodies the character’s weariness and unwavering hope with a quiet intensity. Bachchan’s presence provides a much-needed anchor to the narrative, particularly when the film falters in other areas.
Deepika Padukone is relegated to a disappointingly limited role despite being billed as a lead. While her performance is commendable, the script gives her little to work with. Her dialogue is sparse, and her character development feels incomplete. This is a missed opportunity, as Padukone’s talent and charisma could have significantly elevated the film. I wonder why Deepika’s role in recent films is limited to cameos or love interests, and her dialogue is the bare minimum?
Another veteran actor, Kamal Haasan, portrays Supreme Yaskin, the film’s villain. Haasan delivers a commendable performance, but the character itself is a stereotypical embodiment of evil. There’s a sense of wasted potential here. A more nuanced portrayal of Yaskin, exploring his motivations and complexities, could have added depth to the narrative.
Saswata Chatterjee portrays Commander Manas, one of Yaskin’s enforcers. Chatterjee delivers a strong performance, capturing the character’s ruthlessness and unwavering loyalty. However, like Yaskin, Manas is a one-dimensional villain. The script fails to give him any real depth or complexity, limiting the impact of Chatterjee’s performance.
Telugu cinema has treated Hindu mythology with respect. However, the film falls prey to the trope of over-glorifying the hero, a tendency that weakens the storytelling. The dialogues in Kalki seem designed solely to elicit cheers from Prabhas’ fan base. Cliched one-liners and excessive flattery aimed at the hero take away from the story’s emotional core. Effective storytelling relies on impactful dialogue that reveals character motivations and drives the plot forward. “Kalki 2898 AD’s” script prioritizes empty hero worship over meaningful character development.
Despite the film’s heavy shortcomings, Nag Ashwin, the director, is commended for his ambition and vision. While the execution falls short by a million miles, the attempt to create a visually spectacular and thematically rich sci-fi film based on Hindu history and mythology deserves recognition. There’s a lot of potential outside the Western commercial touch that can be tapped into, but sadly, with big projects, cheapness follows to appeal to the masses.
Despite the shortcomings of the CGI, the film shines in its practical effects and set design. The creation of Bujji, the car, is a standout example. This unique vehicle, a fusion of retro and futuristic aesthetics, adds a touch of charm and originality to the film’s visuals. The sets themselves, particularly the depiction of Shambala, the hidden rebel haven, are impressive. Though inspired by Wakanda, Shambala creates its own distinct visual identity, drawing on Hindu mythology to create a visually captivating sanctuary. These elements demonstrate the film’s potential for creating a truly immersive world.
The action sequences in “Kalki 2898 AD” are a mixed bag. While they are entertaining enough, they lack the necessary weight and emotional impact to be truly engaging. They tend to be forgettable, failing to create a sense of urgency or genuine threat. The soundtrack, on the other hand, is a positive aspect. The score effectively complements the film’s atmosphere, but the songs themselves are not particularly memorable.
The film’s reliance on “nonsense unfunny comedy” is a major misstep. Humor, when incorporated effectively, can enhance a film. However, “Kalki 2898 AD” feels forced and out of place, detracting from the film’s overall tone and seriousness. This highlights a larger issue facing Indian sci-fi: the need to move beyond the tropes of masala films and embrace a more mature storytelling approach. Until Indian sci-fi prioritizes strong narratives over cheap laughs, truly compelling films will continue to elude the genre.
Amidst all this, we’ve Krishnakumar Balasubramanian as Lord Krishna, and I believe that visual is here to stay. Despite everything, Krishna in this film is perfect. The dark and mysterious appearance speaks volumes, and as the Kalki universe expands, I’d love to see more of Krishna.
While the film boasts impressive visuals in certain aspects, a weak script, forgettable action, and misplaced humor hold it back from achieving its full potential. However, the glimpses of strong practical effects, world-building, and a talented cast leave one hopeful for the future of Indian sci-fi.
I’d rate this film a two and a half out of five stars for all its worth.
