Kalki 2898 AD Movie Review: Avatar
of Lord Krishna
The story begins with a
powerful scene set on the 18th day of the Mahabharata War. Lord Krishna has a
fateful conversation with Ashwatthama, the son of Guru Dronacharya, played by
Amitabh Bachchan. Krishna tells Ashwatthama that while his own end is near,
Ashwatthama's sin will prolong his existence until Krishna's rebirth as Kalki
in the Kaliyuga. Angered by Ashwatthama's act of destroying the unborn child in
the Pandava family, Krishna curses him to live on and states that Ashwatthama
can only be freed from this curse by saving Krishna when he is reborn.
In a dystopian future,
Yashkin, portrayed by Kamal Haasan, has lived for years after centuries of
running. He has enslaved people and built the last city on Earth in Kashi.
Prabhas enters this city as a bounty hunter, where a rule dictates that
acquiring one million units allows access to the complex where Yashkin resides.
Prabhas competes fiercely in this harsh environment, while Yashkin pursues a
sinister plan involving extracting a serum from the embryos of several women.
During this time,
Deepika Padukone's character develops a child in her womb, and it is discovered
that this child is Krishna reincarnated. Amitabh Bachchan's Ashwatthama,
burdened by his centuries-long curse, seeks out Deepika upon learning of her
significance. The story unfolds with Prabhas aiding Deepika and Ashwatthama in
their quest, while Yashkin's relentless pursuit of his goal adds to the tension
and drama.
Director Nag Ashwin
deserves commendation for his ambitious project, merging the ancient mythology
of the Mahabharata with modern technology and a grand narrative vision. The
film's impressive graphics rival those of major international films, and the
intricate world Yashkin inhabits is depicted with grandeur. Highlights include
a massive figure used as an elevator, the creepy transformation into a gorilla
robot during the climax, and the thrill of chasing in the second half.
Despite its grandeur,
the film's first half tests the audience's patience. Prabhas's character
initially seems comedic but gradually evolves into a more significant role.
Kamal Haasan's character seems slighter. The cinematography is top-notch, and
while Santhosh Narayanan's songs overhang his background score is superb. The
VFX scenes and the chase sequences in the second half, culminating in Prabhas's
character's revelation, are particularly noteworthy.
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