KALKI 2898 AD

Probably the most anticipated Indian film of the year, Kalki 2898 AD, helmed by Nag Ashwin, featuring Prabhas, Amitabh Bachchan, and Deepika Padukone in the lead, has left me confused as to how I can criticise such a celebratory affair. Kalki 2898 AD deserves immense respect as per the ambition and intent it has to offer something like this, which wasn’t seen before in the Indian content space. It almost made me forget Brahmastra-Part One: Shiva, which I haven’t stopped raving about as the visual spectacle it was. In the sci-fi genre, Kalki 2898 AD is aeons ahead, setting a benchmark that’s hard to beat.

As soon as Kalki 2898 AD started, my eyes took some time to believe the beauty they were witnessing. I found it hard to believe this had come from an Indian creator/mind. The precision in the visuals is beyond perfect. Most of the time in the beginning is spent admiring how amazing every frame is. Towards the end of the second hour and the third hour, the film doesn’t stop to surprise you with its visual grandeur. That blend of mythology in the images may increase one’s interest in learning more about its stories. The fights between Prabhas and Amitabh Bachchan, the architect of the place where Deepika Padukone is held hostage, are astounding. My favourite was the place where we see Kamal Haasan. That backdrop of fire, planet-like objects revolving around, water and everything else looked fascinating.

Things become better in Kalki 2898 AD with the way it sounds. The entire film looks drop-dead gorgeous, but during the crucial moments, like the fight sequences or the entry of certain characters, the sound elevates the moment to an altogether different level, enhancing the viewing experience by many folds. While most of my attention in the third hour was on the visuals, I loved how the sound ensured that I also paid attention to it. Since I saw the Hindi version of the film, the songs didn’t impress me, but the background score wonderfully made up for it.

While wholeheartedly admiring the technical aspects of Kalki 2898 AD and wanting to continue forever, I couldn’t help but question (at every possible opportunity) if this was enough. I wondered if the technical brilliance could ever make up for the lack of emotional depth in the content made across the globe. I believe the answer to this question will always be a big and loud no. If I can’t connect to the tale emotionally, what is even the purpose of such a story? Kalki 2898 AD set in a dystopian world and era tells the same old story of good and kind-hearted people versus evil-minded people, where the former tries to save the world or something on it from the latter. There is a dash of mother sentiment, but it is unfortunately and inexplicably ineffective.

After Saaho, Radhe Shyam, Adipurush and Salaar (Part 1: Ceasefire), the cheers and applauds at Prabhas’ entry scene that too, in the Hindi version, almost justified his unnecessary heroic portrayal in the film. I wondered if Kalki 2898 AD even needed to take this approach. It was evidently draining out the essence of the film, which wasn’t in great form in the first place. Giving a love track, a romantic song and an unintentionally hilarious dance number made my opinion towards the film unfortunately unfavourable. While Deepika Padukone is a typical damsel in distress in every way, she is the film’s hero in the true sense. The entire drama in the story/film takes place because of her situation in the story. Sadly, the spotlight shines the dimmest on her.

Amitabh Bachchan, currently in his eighties, becomes the scene stealer with his magnificent act. The most surprising bit of the living legend’s act was how well he blends in this modern tech world. That comfort in performing those action sequences, impressing with that straight expression, makes him a true Shahenshan of the movie industry. Deepika Padukone is earnest as the sidelined female lead in the male-dominated film. I found her performance very graceful, not just physically, though. There was something inexplicably charming about her act. She lit up the screen, even in that distressed avatar, every time she came on screen.

Kamal Haasan, Shobhana, Saswata Chatterjee, Rajendra Prasad, Pasupathy and Anna Ben were a delight to watch in their supporting roles with their sincere acts. Brahmanandam was humorous as usual, and Disha Patani didn’t really contribute much in any manner. Dulquer Salmaan, Mrunal Thakur, and Vijay Deverakonda were more special than their fans could imagine. Vijay Deverakonda is a treat in the true sense. S.S. Rajamouli and Ram Gopal Verma’s presence adds unwanted humour to the film. The leading man or the film’s hero, Prabhas, offers nothing apart from the same old traditional, typical, dated filmy heroism. I did not find his presence powerful or felt it was contributing in any way to make the film look and feel special.

Kalki 2898 AD is a remarkable film in the history of Indian cinema. It is flawed. The establishment takes an unacceptable amount of time, making the movie feel dragged at places. The three-hour long duration feels quite demanding. The emotional quotient in the film is as good as none. All of this makes it a middling fare at best. Yet, Kalki 2898 AD makes for a proud viewing as an Indian cinephile. It would be a sin to ignore the ambition it had, the genuine intent of creating something unimaginable and also unachievable in the Indian content space. It’s hard to keep expectations low from this one. Hence, minimum disappointment is guaranteed, but you can’t deny that despite all the shortcomings, this one is strictly a big-screen fare.