Nag Ashwin’s highly anticipated sci-fi dystopian drama, Kalki 2898 AD, has been riding an extraordinary wave of success at the box office. The film, starring heavyweights such as Prabhas, Deepika Padukone, Disha Patani, Kamal Haasan, and Amitabh Bachchan, has garnered widespread applause from both critics and audiences alike, amassing an impressive Rs 600 crore worldwide within its first week. However, despite its commercial triumph, the film has not escaped criticism, especially from veteran actor Mukesh Khanna, known for his iconic portrayal of Bhishma in the acclaimed television series Mahabharat.
On Tuesday, Khanna took to his YouTube channel to post a detailed review of Kalki 2898 AD. In a video that has quickly gained traction, Khanna offered a blend of positive and negative observations about the film, reserving particular ire for what he perceives as the filmmakers’ liberties with Hindu mythology.
Khanna criticized the film’s first half for being “boring” but saved the brunt of his disapproval for its reinterpretation of mythological events. “One thing that is bothering me is that they have tried to change the mythology in the film,” Khanna commented. He specifically took issue with a scene where Lord Krishna retrieves a gem from Ashwatthama’s forehead, telling him he will be the savior in the future. “Lord Krishna never said this,” he argued.
Khanna went on to explain the traditional mythology surrounding the gem, which was taken by the Pandavas Arjun and Bhima and given to their wife Draupadi after Ashwatthama had killed her five sons in the dead of night. “Neither did Lord Krishna tell Ashwatthama that he would be his savior in the future, nor did he say that he would be taking birth as Kalki,” Khanna added, emphasizing that he believed all devout Sanatani Hindus should share his objections. He tied this instance to a broader trend he sees in contemporary Indian cinema, citing films like Adipurush and PK as examples that, in his view, have disrespected Hindu sacred texts.
Khanna further voiced his dismay at the creative liberties taken by South Indian filmmakers and urged the government to establish a committee to review films based on mythological subjects, such as the Ramayan and the Gita. “Why do South films work? Because they don’t mess with our religion. Stop this thing. The changes you make in the film according to yourself are just for one religion,” he stated.
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The video elicited a mixed response from viewers. One comment read, “You have a problem with everything. This is a fiction film, watch it like that, and don’t overreact. At least they have respected our Hindu religion.” Another viewer disagreed with Khanna, calling the film a “masterpiece” that effectively melds the Mahabharat with science fiction. Another user criticized Khanna’s tendency to have an issue with varied representations, stating, “This man has a problem with everything. Some changes might be there, but it has not disrespected our gods unlike Adipurush.”
Kalki 2898 AD, helmed by director Nag Ashwin, has been lauded for its groundbreaking approach to blending ancient mythological themes with futuristic, dystopian narratives. The diverse star cast has also been a significant draw for audiences, contributing to its robust box-office performance. The film’s success is apparent not only in ticket sales but also in the broad spectrum of conversations it has ignited—from enthusiastic approval to fierce criticism.
Given the magnitude of Khanna’s influence and his association with legendary mythological content, his comments are likely to stir further debate. While some argue that creative reinterpretation is a valid form of storytelling that can shed new light on ancient tales, others, like Khanna, believe that such efforts can distort and diminish the timeless values intrinsic to these stories.
The growing discourse around Kalki 2898 AD epitomizes a larger conundrum within the Indian film industry: balancing artistic freedom with cultural and religious sensitivity. Whether or not this criticism will impact the film’s continuing box-office performance remains to be seen. For now, it is evident that Kalki 2898 AD is more than just a commercial hit—it is a cultural flashpoint, sparking dialogue about the evolving relationship between tradition and modernity in Indian cinema.
