“Kalki 2898 AD” transcends the realm of mere visual spectacle. It offers a captivating blend of science fiction and Hindu mythology, weaving a narrative that stretches from the epic Mahabharata to the very end of Kali Yuga, the current age of darkness. Director Nag Ashwin’s brilliance lies in crafting a script that seamlessly connects these disparate elements, despite a few narrative hiccups.
A major highlight of the film is the legendary Amitabh Bachchan’s portrayal of Ashwatthama, the cursed warrior from the Mahabharata. The recently released song “Keshava Madhava,” sung by Bachchan himself, adds another layer of depth to his character. The song depicts Ashwatthama’s agonizing wait for Kalki’s arrival, as envisioned by Lord Krishna’s curse.
The song utilizes animation brilliantly to showcase Ashwatthama’s unending torment. We witness a montage of historical revolutions, crimes, and atrocities that plague the world throughout time. Each scene serves as a reminder of the rampant evil that Ashwatthama is forced to endure passively, bound by the curse.
Composed by Santosh Narayanan and featuring Hindi lyrics by Siddharth and Garima, “Keshava Madhava” is imbued with an epic feel. The song culminates with Ashwatthama seeking refuge within a temple, unable to bear the weight of witnessing humanity’s suffering any longer. He resigns himself to a life of prayer until Kalki’s arrival.
The animation and design elements in “Keshava Madhava” deserve much praise. The entire team behind “Kalki 2898 AD” should be commended for presenting a unique and enthralling experience for Indian audiences.
The film boasts a stellar cast, featuring Prabhas as Bhairava, a bounty hunter with a hidden destiny, Deepika Padukone as Sumathi, the vessel carrying Kalki within her, and Kamal Haasan as the enigmatic Supreme Yashkin, who harbors a sinister plan for world domination. The narrative leaves viewers with a burning question – will Kalki arrive in time to prevent Yashkin’s apocalyptic vision? The answer lies in the highly anticipated sequel.
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