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Director
Dev Patel
Starring
Dev Patel
Sikander Kher
Makarand Deshpande
Adithi Kalkunte
The story opens with Kid [Patel], a young man on a quest for revenge for the death of his mother and seizure of his home. Working the kitchen in a criminally-run hotel by day, and competing in underground fights by night, he bides his time waiting to strike against Rana [Kher], the chief of police. But despite being a good fighter and preparing himself as best as possible, Kid quickly learns that in order to truly make a difference, he cannot simply be the clenched fist of vengeance, but target the source of injustice to become a hero of the people.
On the surface, this film is a John Wick clone, and, in truth, that’s exactly how Netflix were planing on marketing it before Jordan Peele saw it, bought the rights and insisted on a cinematic release. And thank God he did because for this feature to be miss-sold and buried on a streaming platform would have been a crime. In truth, Monkey Man is a feature rife with parallels, themes and commentary. Not only about mythology but about the shadows of the caste system, religious and political corruption, the criminal underworld, and the harassment of minorities. It’s a wonderful reimagining of the legend of Lord Hanuman into a viscerally violent story of outcasts and the downtrodden rising up against their oppressors.
The first and most notable point of note about this feature lies in its narrative construction. It becomes very quickly apparent that the story is already a few leaps and bounds ahead of where others would start. To the extent that, around the forty five minute mark, you start to wonder if this tale of revenge will be wrapped up before the first hour has passed. But, despite this, at its core Monkey Man is actually an incredibly straightforward familiar story, simply told from a perspective we don’t often see. Essentially, same recipe, different ingredients.
And one of the biggest alterations is the surprisingly reflective tone of it all. Yes, it’s wincingly graphic and uncomfortable at times but, rather than dishing up hollow fetishisation and glorification of violence, Monkey Man tries to give it a bit of meaning and depth. And while, narratively, there’s a great deal to support that, one has to ask whether they succeed overall? Sure, it’s much more nuanced and contemplative than generic action films, taking the time to really justify the egregious levels of brutality. But part of that answer is contradicted by the technical aspects which make the entire film look, sound and feel cool. From the vibrant soundtrack accompanying the sheer kinetic energy to the beautiful cinematography and great shot composition that draws you into every single scene.
Whenever you see an individual is writing, directing, producing and starring in a feature, it usually sends alarm bells warning of an egotistical mess. But Patel gives everything for this movie. By taking tales of religious deities from his childhood and repackaging them for a wider audience, it’s clear Patel is intent on taking timeless, compelling moral-driven fables and applying them to present day India. Understanding this, it becomes clear that Monkey Man is more than some passion project or ego-trip, it’s an opportunity to create something only a child of immigration with a platform can tell: a damning indictment of an imbalanced system and a celebration of the people ignored at the bottom.
Undoubtedly, this movie won’t be for everyone. The violence will be too gruesome for some, and the shaky cam is often too difficult to follow for others. What’s more, that unique pacing of strike-train-strike interspersed with flashbacks and a drug trip chest splitting scene may cut the legs out of the momentum for many. But these are genuinely minor quibbles, and, as a whole, Monkey Man is a thoroughly passionate and towering debut achievement from a talent who deserves and frankly demands your attention and respect.
Release Date:
05 April 2024
The Scene To Look Out For:
Circling back to the idea of reworking familiar themes and elements, it’s fair to say there’s absolutely nothing new about a dejected fighter receiving motivational guidance and getting back to his mission with a training montage. But, again, it’s all about how Monkey Man chooses to present these features. The broken and frustrated Kid starts hitting the punching bag only to be guided by playful rhythm of a tabla player. As he becomes more engrossed and channeling his rage, we’re given the occasional flash of real world footage of the impoverished being beaten and abused, acting as a transition for Kid going from someone motivated solely by personal revenge to someone who carries the injustices committed against hundreds of thousands.
Notable Characters:
The supporting roles in this movie are both memorable and compelling. Sikander Kher is menacing and overbearing, Makarand Deshpande delivers every line with the hidden danger of a coiled snake, there’s a grace and wisdom to Vipin Sharma’s Alpha, Adithi Kalkunte embodies all the joy and warm as Kid’s mother Neela, and Pitobash injects a heavy dose of levity to the proceedings. But Sita (played by Sobhita Dhulipala) is one role that falls short. Through no fault of Dhulipala herself, her role is pretty one-note. Granted, we understand she’s been sold into a life of prostitution but we learn so little about her, despite the lead’s focus, that she feels somewhat like an afterthought.
Highlighted Quote:
“In the tapestry of life, just one small ember can burn down everything.”
In A Few Words:
“A thundering debut that refuses to let you look away.”
Total Score: 5/5
