Talk to anyone over a certain age hailing from South India about their favorite historical fiction writer and the name “Kalki” will come up. Born as R. Krishnamurthy (1899–1954), Kalki write under this pen name after joining the Indian Independence movement. Known for his historical accuracy, rich storytelling, and poetic language, Kalki popularized historical fiction through his eponymous magazine.

Kalki published his (arguably) greatest work, Ponniyin Selvan, in weekly installments from 1950 to 1954, alongside beautiful illustrations by acclaimed artist Maniam. People coveted each release. Households all around South India waited every week for the latest development. Often the paper magazine passed from one pair of hands to another and back around again. The story title translates to ‘Son of Ponni.’ Ponni refers to the more commonly known sacred Kaveri River. Son refers to the young prince Arulmozhivarman, who later became the great Raja Raja Chola I. The story title symbolizes his deep connection to the river, as legend says the Kaveri itself saved him as a child.

Before we get into the movie, it’s important to understand the grandeur of the Chola dynasty. Lasting from the 9th to 13th century CE, the Chola Empire represents one of the greatest dynasties of South India, known for its military conquests, architecture , and arts. The Cholas left behind awe-inspiring landmarks such as the majestic temple in Thanjavur, still standing today. Watching this ancient world come to life on screen would feel like stepping into Rivendell from The Lord of the Rings, Or Westeros in Game of Thrones.

Ponniyin Selvan–both the books and the two-part film–follows the political intrigue, power struggles, and adventures surrounding Prince Arulmozhivarman. The story features the brave and witty warrior, Vandiyathevan, who becomes entangled in a web of conspiracies as he delivers messages between royal factions. Meanwhile, the prince, prophesized to be a great ruler, faces both loyalty and betrayal as forces plot against his rise. These books bear all the hallmarks of an epic: romance, war, secret identities, and palace conspiracies,

In Kalki’s capable hands, the novels capture the grandeur and drama of one of India’s most powerful empires. But movies three-quarters of a century after the author died? It’s telling that although many filmmakers wanted to claim this subject matter, no one made the films until now. To be honest, I didn’t have a lot of hope they would satisfy. While I grew up hearing about the grandness of Ponniyin Selvan, not being able to read Tamil, I could only imagine the story and characters. Then, a couple of decades ago, the first English translation came out (sans illustrations). Thrilled, I bought all five volumes in one swoop. Once again, the books passed from my hands to those of my mother and uncle and several cousins. To a one, they dismissed this translation as a decent story but one lacking the heart and poetry of the original.

I didn’t care. I’d had a glimpse of this epic story, and my imagination took over the rest. When I heard someone intended to make a movie adaptation, that familiar thrill returned. The filmmaker, Mani Ratnam, is certainly no stranger to telling complex stories set in the Indian diaspora. His works range from a thriller set against the backdrop of the Kashmiri conflict to a socio-political commentary that addressed the 1992-1993 Bombay riots around the demolition of the Babri Masjid. However, Ponniyin Selvan may have been too ambitious of a project for him. The adaptation felt rushed, with flat characters, inconsistent action scenes, and uneven visual effects . Much of the original material was left out, or was changed. Plus, the score didn’t deliver on the promise of the grandeur. While the movies garnered much acclaim, many were left disappointed, leaving the story a challenge for future filmmakers.

I don’t disagree with the criticisms. Actually, I agree with a good many of them. But I chose this movie as one of my (current) favorite historical fiction adaptations because it touches on many considerations historical fiction writers face. How true do we have to stay to source material (whether secondary, translated, or also fictionalized)? What must stay in favor of serving the story? What must be cut (Tom Bombadil, anyone)? How do different generations with varying familiarity around the actual historyview a piece of work?

These are important conversations. I know writers who adhere strictly to what they can prove. I also know writers who explore alternate history and historical fantasy, including myself  There’s a space for all of it. Importantly, though,  the conversation around how retellings of historical events change as we, as humans and as a society, change is also fascinating. Frankly, my goal with any historical fiction, whether writing or reading it, is to spark motivation to research and learn more.

Here are links for anyone interested in either the books or the films!