“In this city, the rich don’t see us as people. To them, we’re animals.”–Kid
I was furious when I heard that Netflix bought Dev Patel’s directorial debut. Without knowing what it was about, I knew that the streaming service would not understand the true value of the film or Patel’s vision. Netflix is a Pandora’s box. Honestly, it has unleashed more bad than good in the world. There is an incredible cost to their film acquisitions. The theatrical experience is unmistakably vital to cinema, inaccessible to some, but still a pillar of the art form. Equally important is the home video release, with additional features that create a complete experience of how a production came to be. For me, streaming is just another means of access, but for the longevity of a film’s enjoyment, Netflix can be the damn grim reaper. Too much has been lost to the algorithm, and recent developments in the streaming world have shown that if someone is greedy enough, they can wipe a passion project off the face of the earth. I can continue, but enough writers and creatives (much more intelligent than I) have endlessly spoken about this issue.
To say that Jordan Peele is a hero and that Monkeypaw Productions, and by extension, Universal, are doing the Lord’s work is an understatement. What Netflix had and lost is a masterclass of cinematic appreciation, self-actualization, and a bona fide hit. Dev Patel poured blood, sweat, tears, soul, and muscle into Monkey Man, and every bit of his effort and passion is as bright as the crimson bloodshed on screen. So, if you can do so, support this film in theatres. You will have a thrilling revenge actioner to enjoy and be immersed in one man’s honest plea for community and justice.
Monkey Man follows Patel’s unnamed protagonist (or Kid) as he navigates the seedy underbelly of Mumbai and pursues the corrupt police chief, Rana Singh (Sikandar Kher). Singh is a staunch supporter of religious figure Baba Shakti (Makarand Deshpande), who, surprise, surprise, is corrupt too. Kid’s vendetta stems from Singh’s participation in the destruction of his home and the murder of his mother. Little by little, Kid gains momentum on his suicide mission and finds unexpected help from those who can empathize.
Patel’s revenge story is layered and nuanced without being overly complicated or exposition-heavy. Its foundation is the story of a young man who desires to avenge his mother and the home he lost. Patel layers that with a story of the underdog, begging for scraps as the rich get richer and the marginalized and voiceless get pushed further into the shadows. In addition, he gently gift wraps the whole picture with mythology that weaves throughout the film poetically and lyrically.
Patel also tackles the caste system that still has a gruesome grip on Indian politics and the religious division that affluent leaders and bad-faith actors fuel. Patel’s choices here come from a place of deep pain and anxiety for the state of India, as basic humanity is denied for swaths of people based on ethnicity, gender, sexuality, religion, and more. His intentions are deeply felt by how he makes the production an intimate project as he films in the slums and includes the local community. Patel goes above expectations and also offers a dazzling and moving display of admiration and support for the hijra community, as they punctuate Patel’s message.
Do not go into Monkey Man thinking it is “Indian John Wick” because, for one, that is reductive and disrespectful to Patel and to any South Asian creator who actually intends on remaking John Wick. Two, it reduces John Wick to being just a formula that can be applied anywhere rather than the lovechild of two former stunt actors and coordinators. Monkey Man is a revenge thriller that is more than just one man versus many; instead, one man stands against the corrupt with the help of his community.
However, the two films’ similarities rest in their proficiency, ingenuity, and deep admiration for Asian action films. The influences are very apparent, largely because there is little the West has contributed to the genre anyway…but I digress. Patel balances a lot behind the camera, understanding that he needs to maintain a heightened, ultraviolent reality, to boost the revenge story. He also maintains patience and calm to underscore the thematic relevance, the sombre tale of loss and pain, and the enduring hopefulness of community and compassion.
On the action front, this film is a bloody good time. The action sequences are seamless, kinetic, and incredibly engaging. Most Hollywood action films have lost the thrill of seeing a fight play out where you can actually see the initial movement, the follow-through, and the consequences due to incoherent cutting and frantic camera movements. Patel is clearly a student and fan of the genre, working in opposition to these flaws–crafting something that is truly a feast for the eyes. The action is perfectly tuned, with each scene feeding into anticipation, and leading to a very satisfying conclusion.
Patel takes on many roles here, but the most vital to the enjoyment of the film is his role as an actor. Aside from being stupidly handsome and sporting an impressive physical transformation, the depth and raw honesty of his performance help Monkey Man soar. As for the rest of the cast, Patel surrounded himself with winners. Kher and Deshpande are mesmerizing villains, each existing on different sides of the bad guy spectrum. Kher is pure brute strength and violent outbursts, and Deshpande carries menacing confidence as he spews Shakti’s poisoned wisdom. As Alphonso, Pitobsh Tripathi injects much-needed humour and levity. Adithi Kalkunte beautifully carries the film’s heart as Kid’s mother, while Vipin Sharma expresses a raw sense of hopefulness as a member of the hijra community. Finally, Sobhita Dhulipala’s immense beauty is captivating, and while she doesn’t have a ton of screentime as Sita, she makes an impact with her quiet conviction and sense of justice.
The thought of Dev Patel taking on action for his feature directorial debut thrilled so many, including myself. Seeing the film welcomed with such excitement for its theatrical release is incredibly moving. Patel’s journey to this point was rough, with a pandemic stalling production, a broken hand, and then losing distribution, must have been very difficult for a first-time director. However, his commitment has been rewarded. Monkey Man has an eager and passionate audience ready to indulge in Patel’s bold and refreshing vision.
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