Passion and dedication drip through every frame of Dev Patel’s ferocious yet imperfect directorial debut, Monkey Man, thanks to his unwavering commitment to the story, both in front and behind the camera.
Monkey Man takes place in the fictitious, grimy, neon-drenched Indian city of Yatana (which translates to suffering in Hindi), where an anonymous young man, billed as Kid (Dev Patel), scrapes by as a fighter (wearing a monkey mask) in an underground fighting club owned by a sleazy man named Tiger (Sharlto Copley). The Kid is determined to avenge the death of his mother, and flashbacks reveal that she was murdered by Rana Singh (Sikandar Kher), a corrupt police officer who shows up in their village at the behest of a ruthless spiritual Guru named Baba Shakti (Makarand Deshpande), to drive out the locals and seize their land. After learning that the people he wants to kill frequent a nightclub cum brothel named Kings, managed by Queenie Kapoor (Ashwini Kalsekar), the Kid manages to get a job there as a kitchen cleaner. Along his journey for retribution, the Kid encounters numerous characters, such as Sita, a stunning club worker (Sobhita Dhulipala), Alphonso, a gangster employed by Queenie (Pitobash), whom he befriends and incorporates into his scheme, and the hijra community, led by Alpha (Vipin Sharma), who ultimately lends him a hand in achieving his goal.
There has been an abundance of cinematic exploration of the revenge subgenre, and the premise of Monkey Man feels eerily similar to 1970s Bollywood films that starred Amitabh Bachchan as an angry young man who, after losing a loved one to power-hungry people, chooses the path of vengeance and takes on a corrupt political system. But what makes Dev Patel’s film particularly good is the execution and the vision he brings to the story. The film is peppered with flashbacks that depict the Kid’s relationship with his mother. Using handheld close-ups of the two, with the mother occupying most of the space in the frame for their shared scenes, Dev Patel establishes an intimate bond between them, which helps him demonstrate that she was his entire world, and after losing her, the shot of him standing alone with his village on fire in the background feels heartbreaking and sad. As a result, the more emotional and stronger their bond is, the more potent and effective the revenge angle becomes. Additional plot points that contribute to the film’s worth and merit are its incorporation of mythology—specifically, the Kid’s character drawing inspiration from Lord Hanuman for his realization that he needs purpose in life—and the representation of the hijra community and highlighting the discrimination they have endured from society.
Although not groundbreaking, the film’s action set pieces are impressive, with Dev Patel proudly drawing inspiration from his influences and delivering high-octane, intense, and brutal fight scenes. As a homage to Korean action thrillers, he chooses hand-to-hand combat scenes and knife fights over shootouts and gunfights. There is also a possible nod to The Man From Nowhere (2010) in a scene where he attempts to leap through a glass window that remains unbreakable (in the Korean classic, however, the protagonist manages to jump through the glass and break it while the camera follows him through the whole way, creating one of the film’s finest shots). The action sequences, particularly the climactic one, appear to be inspired by Gareth Evans’ The Raid films in terms of their continuous shots and camerawork (although I could have done with less shaky camera work in Monkey Man). On the other hand, the aggression, savagery, and raw intensity will remind you of Timo Tjahjanto’s The Night Comes For Us (2018). In addition, the film also features a training montage that is unlike any other we have seen over the years. It depicts the kid training to the sounds of Tabla (played by Zakir Hussain himself), accompanied by a voice-over of a politician’s hate speech, heightening the emotional impact, raising the stakes, and giving the Kid the will to fight.
Despite its many admirable qualities, the film does falter in the writing department. For instance, after the Kid discovers a newfound meaning in life during the second act, his goal of fighting for the oppressed is inadequately addressed and feels underdeveloped. Also, the film’s main antagonist is a person who has established himself as a cult-like figure that people blindly worship and follow and has founded his own political party, the Sovereign Party. However, there is a lack of depth in the character, and how he manipulates people and divides them through religious fear and hate speeches is vaguely explored. Finally, some of the supporting characters in the film are completely wasted, particularly Sobhita Dhulipala’s Sita, who contributes little to the story.
Dev Patel is the heart and soul of the film, and he delivers a sensational performance; his dedication to the project is palpable, both on and off the screen. Although he says very little dialogue, his eyes speak volumes and communicate the emotions of anger and pain with great conviction, especially during the film’s quieter moments. Sikandar Kher also impresses; his commanding screen presence and his cocky attitude make him a formidable opponent.
Monkey Man movie links: IMDB, Letterboxd
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