Actor Mukesh Khanna, celebrated for his iconic portrayal of Bhishma in BR Chopra’s television series Mahabharat, recently expressed his displeasure with the film “Kalki 2898 AD.” In a candid video posted on his YouTube channel, Khanna shared his mixed feelings about the film. While he praised its impressive production values and gripping action sequences, he criticized its deviation from traditional narratives of the Mahabharata, labeling these changes as offensive.
Mukesh Khanna’s Critique on Kalki 2898 AD
In his video, Khanna did not hold back his disappointment. “In the beginning, when Krishna curses Ashwatthama by removing his ‘mani’, this never happened,” he pointed out. “How could the filmmakers presume to know more than Vyas muni, who composed the epic? It wasn’t Krishna who removed Ashwatthama’s ‘mani’. It was Draupadi who instructed that his ‘mani’ should be removed after he killed all five of her children.”
Khanna’s deep-rooted connection to the Mahabharata and his extensive knowledge of the epic are evident in his critique. He expressed concern over the liberties taken by the filmmakers, suggesting that they not only misrepresented the story but also disrespected the source material.
The film, starring Prabhas and directed by Nag Ashwin, has been a significant commercial success, grossing over Rs 400 crore worldwide within nine days of its release. Despite its box office triumph and visual grandeur, it has drawn criticism from those who feel it distorts key elements of the Mahabharata.
Mukesh Khanna’s Background and Perspective
Known for his forthright opinions, Mukesh Khanna has often voiced his views on mythology and its portrayal in contemporary media. His portrayal of Bhishma in the late 80s and early 90s made him a household name, and his role as the superhero Shaktimaan further cemented his status as a cultural icon.
Khanna’s review of “Kalki 2898 AD” highlighted both its strengths and weaknesses. He lauded the film’s production values and the performances of its star-studded cast, including Amitabh Bachchan. Yet, his primary contention remained with the narrative deviations. He emphasized the importance of staying true to the original texts, especially when dealing with revered epics like the Mahabharata.
“A CBFC Committee Should Be Set Up”
Khanna went further to propose the establishment of a committee by the Central Board of Film Certification (CBFC) to oversee films based on mythological themes. He argued that such a body could ensure the integrity of the source material is maintained, preventing filmmakers from making unwarranted alterations.
“There are many more such wrong facts in the film. Why do these filmmakers dare to do this? Why doesn’t anyone stop them? Do they have only Hindu scriptures left for this?” Khanna questioned, pointing out the recurring trend of misinterpretation in films like “Kalki 2898 AD” and “Adipurush.”
Kalki 2898 AD: A Sci-Fi Take on Mythology
Directed by Nag Ashwin, “Kalki 2898 AD” blends science fiction with mythological elements. The film features Prabhas as Bhairava, a bounty hunter from Kashi, and Deepika Padukone as SUM-80, a pregnant test subject. Amitabh Bachchan portrays Ashwatthama, a character from the Mahabharata, reimagined in a futuristic setting.
Despite the creative premise and high-octane action, Khanna’s critique focuses on the narrative liberties taken with revered texts. “The liberties that you’ve taken are inexcusable. We think that South filmmakers have more respect for our traditions, but what happened now?” he said.
Khanna’s review is particularly noteworthy given his own legacy in Indian television. His portrayal of Bhishma in the Mahabharata was both critically acclaimed and loved by audiences, giving him a unique perspective on adaptations of the epic.
Mixed Reactions to Khanna’s Critique
Khanna’s strong words have sparked debate. Some agree with his call for preserving the integrity of mythological stories, while others feel that filmmakers should have the freedom to reinterpret these narratives creatively.
The film’s producers, Vyjayanthi Movies, have yet to respond directly to Khanna’s criticisms. However, they have celebrated the film’s commercial success, with “Kalki 2898 AD” making over ₹700 crore worldwide in just over a week.
Khanna’s comments also included a pointed remark about the audience’s ability to grasp the film’s complex narrative. “The intelligence with which this film is made is befitting of Hollywood. The audience there is much more understanding than the audience of our country,” he stated, sparking further controversy. He later apologized, saying, “I don’t think the audience of Bihar or Odisha will understand the meaning of this film.”
Future Implications
Mukesh Khanna’s critique has opened up a broader conversation about the portrayal of mythology in modern media. His call for a CBFC committee to oversee mythological films “Kalki 2898 AD”may or may not be heeded, but it highlights a growing concern among certain sections of the audience and industry professionals.
The balance between creative freedom and respect for traditional narratives is delicate. While films like “Kalki 2898 AD” push the boundaries of genre and storytelling, they also risk alienating those who hold the source material in high regard.
Conclusion
“Kalki 2898 AD” remains a visually stunning and commercially successful film, but its reception is marred by criticisms from figures like Mukesh Khanna. His call for a CBFC committee underscores the tension between innovation and tradition in Indian cinema. As audiences and filmmakers navigate this complex landscape, it will be interesting to see how future projects balance these competing interests”Kalki 2898 AD”
Mukesh Khanna’s passionate defense of the Mahabharata’s integrity reflects a deep reverence for the epic, and his critique serves as a reminder of the importance of respecting cultural and historical narratives, even in the pursuit of artistic innovation. Whether his recommendations will lead to changes in how mythological stories are adapted remains to be seen, but his voice adds a significant dimension to the ongoing conversation about the intersection of tradition and modernity in Indian cinema.
