Kalki 2898 AD (2024, Nag Ashwin), an Indian blockbuster with a star-studded cast led by Amitabh Bachchan, Prabhas, Deepika Padukone, and Kamal Haasan in central roles, has achieved remarkable critical and commercial success. Telugu filmmaker Nag Ashwin has captivated audiences by blending profound themes derived from the ancient Indian epic Mahābhārata with a science fiction plot set in a futuristic dystopia. Divided into two parts, the film’s first installment has been hailed as a groundbreaking contribution to Indian cinema. However, to fully comprehend the film’s intricate narrative and thematic resonance, it is essential to explore its literary origin. In Kalki 2898 AD, the character of Ashwatthama serves as a central figure whose reinterpretation from ancient text to dystopian narrative not only enriches the film’s exploration of divinity, moral ambiguity, societal decay, and redemption, but also highlights the lasting cultural significance of classic texts in shaping speculative futures and reflecting on contemporary societal concerns.

Ashwatthama, a cirañjīvā 1 , is depicted as a complex figure embodying multiple roles and qualities, and is described as a “hero-villain-guru-mahatma” in the Mahābhārata, which is the world’s longest epic poem, and of profound importance to Hindus. Traditionally attributed to Vyasa as its legendary author, it narrates the prelude, events, and aftermath of the fierce war between the Kauravas, the hundred sons of Dhritarashtra, and the Pandavas, the five sons of Pandu, two groups of cousins whose rivalry and conflict form the Mahābhārata’s central narrative as it explores themes of morality, duty, and religious teachings, including life’s meaning and salvation. Ashwatthama was born with a gem on his forehead which gave him power over all living beings lower than humans and protected him from hunger, thirst, and fatigue. He is the son of Dronacharya, a renowned martial arts teacher, the son of Sage Bharadwaj, and royal guru to the Kauravas and Pandavas, and Kripi. Dronacharya, after becoming well-versed in Vedas and burning all his sins through asceticism, married Kripi, who was ever engaged in virtuous acts, Agnihotra 2 , and the austerest of penances, gave birth to Ashwatthama. When Ashwatthama was born, his cry resembled that of the celestial steed Uchchaihshravas 3 . Hearing this sound, an invisible being from the skies proclaimed, “The voice of this child hath, like the neighing of a horse, been audible all around. The child shall, therefore, be known by the name of Aswatthaman, (the horse-voiced)” (Ganguli 134). Ashwatthama stands out for his formidable martial skills and the ethical complexities he embodies. Ashwatthama is one of the 11 major warriors who survived the war. Ashwatthama, as a key warrior on the Kauravas’ side, stood by them throughout the war, driven by a sense of duty and friendship toward Duryodhana. As a formidable warrior, he gained recognition as mahārathī, a great warrior capable of fighting ten thousand opponents at one time. Following Kauravas’ defeat and the death of his father, his retaliatory strike resulted in him receiving severe divine punishment. In a reprehensible act, he attacked the Pandavas’ camp at night, killing many warriors in their sleep, including the five sons of Draupadi. Ashwatthama then used the divine weapon, brahmashirā, to kill Uttara’s unborn child, and was cursed by Lord Krishna to wander the earth for 3,000 years, enduring perpetual anguish and remorse, illustrating the profound impact of vengeance and the unavoidable consequences of karmā 4 (Werner 64). His gift of protection from hunger, thirst, and fatigue in this way became a curse.

The curse inflicted by Lord Krishna upon Ashwatthama in the Mahābhārata holds a profound significance in both moral and cosmic dimensions. It serves as a moral reckoning for his transgression of killing warriors and five upapandavas (Draupadi’s sons) in their sleep, his indiscriminate use of divine weapons, breaking the ethical codes of war, as well as his disregard for moral accountability and ethical consequences, despite receiving guidance from figures such as Lord Krishna, by acting out of personal vengeance and anger rather than strategic necessity. Lord Krishna’s curse on Ashwatthama in the Mahābhārata marks the conclusion of the epic’s moral journey, highlighting themes of dharmā 5 , karmā, and cosmic balance (Werner 46). His curse serves as a symbol for restoring dharmā, condemning him to suffer for his misdeeds while embodying the consequences of adharmā 6 (Werner 22). His curse to roam the earth for eternity, unable to find solace or release from his suffering, reflects the idea that even those with extraordinary powers and privileges are subject to moral accountability and karmic consequences for their actions. He will perpetually wander and face isolation and suffering, shunned by society and haunted by the weight of his past deeds. As an act of redemption, Lord Krishna prophesied that despite Ashwatthama’s desire to harm him, in the near future, Ashwatthama will be called upon to protect Lord Krishna’s tenth incarnation in a new age.

Ashwatthama’s eternal punishment serves as a metaphor for the inescapable and enduring nature of guilt and psychological torment, which can be seen in individuals who are metaphorically likened to Ashwatthama, flawed protagonists such as Batman (Bruce Wayne) and Heathcliff. In The Dark Knight Rises (2012, Christopher Nolan), Bruce, haunted by the death of his parents and driven by a sense of duty to protect Gotham, struggles with inner darkness and personal sacrifices. Similarly, in Wuthering Heights (2011, Andrea Arnold), Heathcliff is consumed by vengeance and is haunted by his unfulfilled love for Catherine, leading to a life marked by bitterness and torment. Ashwatthama’s existence is described as disturbing and harrowing. His eternal punishment is compared to an all-encompassing black hole of Kāli 7 , emphasizing the relentless and overwhelming nature of his suffering. His portrayal in the film Kalki 2898 AD reimagines the character against a futuristic backdrop, delving into themes of cursed immortality and the pursuit of redemption. This exploration resonates with contemporary reflections on morality, underscoring the enduring consequences of ancient deeds in a modern context.

The film is set 6000 years after the Kurukshetra war. The film opens with evocative images of the battlefield, accompanied by the declaration “Ashwatthama is dead.” The subsequent scene depicts a warrior, Ashwatthama, portrayed by Amitabh Bachchan, himself a larger than life figure who for decades has been India’s most durable star, gathering a blade of grass from the battlefield and turning it into a brahmashirā 8 , a powerful celestial weapon mentioned in ancient Indian texts capable of causing widespread destruction, invoked and withdrawn strategically by skilled warriors. In this context, Dronacharya has taught Ashwatthama how to invoke the weapon, but not how to retract its power. The brahmashirā is directed toward the womb of Uttarā, Abhimanyu’s wife and Arjuna’s daughter-in-law, tragically ending her unborn child’s life as an act of vengeance for the death of Dronacharya, Ashwatthama’s father. Haunted by his defeat, Ashwatthama encounters Lord Krishna, the charioteer of Arjuna, who condemns him for this grave transgression. Seeking redemption, Ashwatthama implores Lord Krishna for his guidance. Lord Krishna prophesies that as an act of redemption, Ashwatthama will grant protection to Kalki, Krishna’s tenth incarnation, a warrior traditionally prophesied to arrive at the end of Kali Yuga, riding a white horse (often depicted with wings), to usher in a new era of purity and spiritual revival, symbolizing a future spiritual civilization. Lord Krishna then removes the gem from Ashwatthama’s forehead, leaving behind a symbolic wound. According to Vishnu Purana, Kali Yuga is described as the last of the four ages—preceded by Krita, Treta, and Dvapara. This age is characterized by a marked decline in virtue, societal order, and spirituality (Vishnu Purana). Lord Krishna’s prophecy lays the foundation for the story about to unfold. The film navigates three distinct settings: Kasi, a city where survival of the fittest reigns and people scrape by with the bare minimum; the Complex, an inverted pyramid city housing essential resources such as food and water, guarded by a formidable army known as the “raiders”; and Shambala, a sanctuary for those seeking refuge from the chaos. The narrative illustrates the harsh realities of Kasi, contrasting it with the intimidating strength of the Complex’s raiders and the hope offered by Shambala. Fertile female refugees are taken from Kasi, the last viable city on Earth, to the Complex for Project K, an experiment to create a life-extending serum for the 200-year-old Yaskin (portrayed by Kamal Haasan), the Complex’s totalitarian ruler, who is in an almost vegetative state.

Ashwatthama’s character embodies both vengeance and redemption, exploring the moral consequences of the cycle of violence. Additionally, Lord Krishna’s prophecy about Ashwatthama’s role in Kalki’s future shapes the film’s spiritual and philosophical dimensions. Ashwatthama is reimagined, transported from the Mahābhārata to a futuristic dystopia, where his journey from cursed immortality to redemption illuminates the enduring relevance of epic themes in contemporary narratives, emphasizing the interplay of guilt, punishment, and ultimate salvation.

Ashwatthama is portrayed as a bridge between two ages, Dvapara Yuga and Kali Yuga 9 , and two worlds, Shambhala and the dystopian city of Kasi. He is an immortal figure of enduring power and complexity. As per the epic, he is known for his martial prowess, loyalty, and his role in the Kurukshetra war, culminating in tragic events. However, his martial prowess and loyalty are now directed toward his redemption, centering on morality and the burden of immortality. His physical appearance and clothing symbolize his detachment from humanity. Archana Rao, who faced the challenge to design costumes for a character who is supposedly the oldest man alive, told The Hindu newspaper: “Our main inspiration was to make him look as old as a tree.” (Dundoo).

Ashwatthama’s character is developed in a series of key scenes. His first appearance in the dystopian world depicts him meditating in an underground Śivālaya 10 , in the ruins, far away from the city, as if he is in hiding. In 2898 AD, he is a relic of the past thrust into a world where technology reigns supreme. This is illustrated when Raia, a young girl disguised as a boy, seeks refuge in a cave and encounters Ashwatthama, who saves her from an attacking robot. Ashwatthama’s interactions with advanced technology and dystopian elements highlight his struggle to reconcile his ancient identity with the demands of a futuristic society. The film’s Ashwatthama retains core aspects of his literary origins: his immortality, formidable combat skills, and burden of a curse, but places him in a world where technology and moral decay have altered the landscape. Unlike his legendary counterpart, who relies solely on divinity and martial prowess, Ashwatthama demonstrates adaptability in confronting advanced weaponry and cybernetic enhancements. Despite these changes, his unwavering loyalty to his principles and his quest for redemption remain central. His journey begins with the reclaiming of his divine gem, leading him to the realization that the unborn child of SUM 80 (renamed as Sumathi, and played by Deepika Padukone) is Kalki, which becomes pivotal to the unfolding events, particularly his quest to find and protect Sumathi, the mother of Kalki, which is the key to his path to redemption.

A pivotal moment in Ashwatthama’s journey occurs during his battle with Bhairava (played by Telugu cinema superstar Prabhas), a bounty hunter identified as the reincarnation of Karna, a tragic hero in the Mahābhārata known for his exceptional skills as a warrior, his unwavering loyalty to Duryodhana, and his lifelong rivalry with Arjuna, all while struggling with the challenges of his hidden noble birth and low societal status. This confrontation showcases Ashwatthama’s martial skill and emotional depth as he encounters connections from his life in Dvapara Yuga amidst the chaotic environment of Kali Yuga. Navigating the dangerous landscape of Kasi to protect Sumathi, Ashwatthama’s interactions with Raia, Shambhala’s rebels, and Bhairava strengthen his determination, highlighting themes of loyalty, sacrifice, and the ongoing fight against adharmā. His journey culminates in a dramatic showdown at Shambhala, where he confronts Commander Manas and the raiders. His determination to protect Sumathi and fulfill his destiny is tested, but his perseverance and combat skills help him prevail. The reawakening of Karna within Bhairava adds a layer of complexity to the narrative, forcing Ashwatthama to confront his past and the burden of immortality. The narrative concludes abruptly with Ashwatthama continuing his efforts to protect and retrieve Sumathi from the raiders, emphasizing his ongoing struggle and dedication. The film ends with a cliffhanger, leaving viewers uncertain about whether his redemption will be achieved in the next installment. The sequel is expected to explore Yaskin’s mission in greater detail, which accounts for his limited role in the first film.

The film masterfully sets its epic themes in a futuristic dystopia. Central to the narrative is the idea of redemption, embodied by Ashwatthama’s quest for atonement through the protection of Sumathi, the mother of Kalki. The film explores societal and moral decay through the oppressive rule of Supreme Yaskin and the dehumanizing Project K. The eternal struggle between good and evil is depicted through the prophecy of Kalki, destined to restore order and dharmā. Technological dominance and its ethical consequences are highlighted by the portrayal of the Complex and Yaskin’s use of advanced technology to maintain control. Survival and resistance are exemplified by the Shambhala rebels and Raia’s journey, emphasizing resilience against oppression. Fate and destiny are integral, with the prophecy of Kalki and Ashwatthama’s role underscoring the cosmic plan. Complex characters with complex motivations challenge simplistic notions of good and evil. Through reimagining Ashwatthama’s journey and his quest for redemption, the film powerfully underscores the relevance of ancient epic themes in modern storytelling, highlighting the interplay between past misdeeds and their perpetual impact. The film offers a compelling exploration of guilt, karmā, and the hope for salvation, interlinking the ancient and the futuristic in a seamless, thought-provoking narrative.

Bibliography

Ganguli, Kisari Mohan. The Mahabharata of Krishna-Dwaipayana Vyasa. Writers Workshop, 2008. Print.

Werner, Karel. A Popular Dictionary of Hinduism. Curzon, 1994. Print.

Vishnu Purana. (n.d.). Veducation. Retrieved October 7, 2024, from https://www.veducation.world/library/shastras/puranas/vishnu-purana/vishnu-purana-pdf

Dundoo, Sangeetha Devi. “Archana Rao on ‘Kalki 2898 AD’: The Minute Amitabh Bachchan Tried on the Ashwatthama Costume, It Looked Brilliant.” The Hindu, 26 June 2024, www.thehindu.com/entertainment/movies/archana-rao-on-kalki-2898-ad-the-minute-amitabh-bachchan-tried-on-the-ashwatthama-costume-it-looked-brilliant/article68315813.ece.

Online, E. (2024, June 28). “Kalki 2898 AD” sequel officially confirmed: Part 2 of Nag Ashwin’s epic to debut in three years. Check de. The Economic Times. https://economictimes.indiatimes.com/magazines/panache/kalki-2898-ad-sequel-officially-confirmed-part-2-of-nag-ashwins-epic-to-debut-in-three-years-check-details/articleshow/111335144.cms?from=mdr

Vyjayanthi Network. “Kalki 2898 AD Release Trailer - Hindi | Prabhas | Amitabh | Kamal Haasan | Deepika | Nag Ashwin” YouTube, uploaded June 21, 2024, https://www.youtube.com/watch?v=BfCIPsEGAS8

Vyjayanthi Network. “Introducing Ashwatthama - Kalki 2898 AD | Amitabh | Prabhas | Kamal Haasan | Deepika | Nag Ashwin” YouTube, uploaded April 21, 2024, https://www.youtube.com/watch?v=t_E5zjFj6Ew

Notes

1. According to Puranic literature, a being who attains immortality is called cirañjīvā. ↩
2. a fire offering ↩
3. Uchchaihshravas is a flying horse mentioned in ancient literature, known for its white colour, seven heads, and status as the king of all horses, with a name meaning “one with long ears” or “one that neighs loudly.” ↩
4. Karmā refers to action, deed, ritual, or duty and represents the cosmic law of balance and retribution, operating across lifetimes based on the principle of “as you have sown, so you will reap.” ↩
5. Dharmā refers to righteousness and duty, defined as fulfilling responsibilities according to one’s caste, stage of life, or personal understanding of one’s position and future path toward the ultimate goal. ↩
6. Adharmā refers to the absence of righteousness or integrity, signifying moral and spiritual decline. ↩
7. Kāli (the black one) here refers to Kāli Mā (mother), the goddess of time, death, and rebirth, and not to Kāli of the Kali Yuga. ↩
8. “Brahma” refers to Lord Brahma, the creator, and shira means “head.” ↩
9. In Hinduism and yogic philosophy, Dvapara Yuga is the third age in the cycle of yugas, while Kali Yuga is the fourth and current age in this cycle. ↩
10. A temple of Śivā ↩

Volume 29, Issue 1-2 / February 2025 Film Reviews   epic   indian cinema   mahābhārata   nag ashwin   science-fiction   telugu cinema