MONKEY MAN

Released April 4, 2024

Directed by Dev Patel

Written by Dev Patel, Paul Angunawela, and John Collee

* Contains some mild spoilers including descriptions of the climax and some dialogue *

Dev Patel’s directorial debut pulls no punches. Monkey Man is an incredible feat of directing and editing that hits way harder than you’d expect from a rookie director. It is a classic revenge story with intense action and violence, but this is far more than John Wick in India. There’s a compelling narrative full of provocative social commentary, intense character moments, and a shockingly bold critique of the current political climate. While set in a fictional city, with overt analogues to real-world figures, Patel presents a cynical yet mesmerizing portrait of India in all its grime and glory.

Patel proves himself to be not just a great actor but possibly an even more talented director. On a technical level, the film is nearly flawless — the editing, sound design, and cinematography are all brilliant, but this is no shallow action film. Remarkably saturated with story and symbolism, every element serves the narrative, characters, and themes. Not a single shot feels wasted and so much is conveyed visually that the dialogue becomes almost unnecessary. Despite feeling longer than it is, the pacing is great, and every scene is so rich and densely packed, feeling more like a modern epic than a glitzy action movie.

Duality and the intersection of opposing forces are at the core of the story, commenting on masculinity and femininity, destruction and creation, the sacred and profane, poverty and decadence, and the purity of nature compared to the filth of so-called civilization. The story even climaxes during Diwali, a festival celebrating light triumphing over darkness, and is beautifully foreshadowed in earlier scenes.

A great revenge plot needs the audience to share the protagonist’s hatred for the villains. Monkey Man does this masterfully as it slowly unveils the backstory through panic attacks and flashbacks. The film’s villains are abhorrent, their decadence, corruption, and cruelty laid bare as they engage in all kinds of debauchery in their opulent private clubs, where women are literally reduced to items on a menu. Patel’s character infiltrates this world and is sickened by how oblivious they are to the less fortunate. The elites don’t even see them, and when another character comments on them, “living the life”, Patel says quietly to himself, “that’s not living”.

Highlighting the dangers of fanaticism and mass manipulation through religion, the character of Baba Shakti, a so-called holy man, feigns love for the poor and sick. He preaches non-violence while endorsing a candidate for the “Sovereign Party”, who is responsible for instigating violence against minorities. It’s a clear proxy for the BJP and Narendra Modi, showing real news footage of state and mob violence amongst signs that read “Stop Violence Against Muslims”. I was completely taken aback by how overt the criticism was and wouldn’t be surprised if this is why Netflix decided to back out of producing this. Even further, the movie depicts the displacement of land under the guise of religious entitlement. When criticized about this, a character says that the land was empty and barren and now the people who lived there are happy. Very bold of Patel to go this hard in his directorial debut.

Patel’s performance hits just as hard—literally. He has barely any lines but his presence, whether through his physicality or a smouldering glare, is commanding. This is most clear in the training sequences. Watching Patel’s character train, where the drumbeat matches the blows to the punching bag, feels primal, visceral, and hypnotically rhythmic. Patel’s performance beautifully captures how his character, once broken by his trauma, learns to fight for purpose rather than pain.

Many of the supporting characters are featured briefly, and then seemingly forgotten for a decent portion of the movie. Ironically, just as I was internally criticizing these lost threads, the movie gave them brief but meaningful scenes to conclude their arcs. Even if they didn’t come back, the characters exist in their moment, get their shine, and then slip away. It’s lean and effective and no one feels like they over stay their welcome. Even the stray puppy—a symbolic nod to John Wick—serves as a testament to Patel’s character’s compassion and the glimmer of hope he clings to in a cruel world.

There is no doubt Monkey Man was inspired by John Wick, and it’s not shy about it. Like John Wick the action here is raw, harsh, and far from sterile. Even more than its inspiration, every punch, kick, or throw is heavy with booming sound effects and well-timed edits to give each hit the appropriate weight. Early on, there is a scene where a character is pick pocketed. We follow the stolen goods as they’re handed off in a series of rapid-fire close-ups punctuated by a beat or musical cue, creating a kinetic rhythm that persists throughout the film.

The final act is an action packed symphony of chaos and catharsis, culminating in a satisfying but contemplative confrontation. The movie’s sparse dialogue gives way to powerful visual storytelling, and the climactic line, “Only God can forgive you now,” is an excellent exclamation point for a thrilling and surprisingly thematic ride. Monkey Man isn’t just a great revenge tale; it’s a brutal, beautiful meditation on redemption, purpose, and the ills of societal inequity.

8/10 – Monkey Man is bold, visceral, and packed with meaning. Kinetic action sequences, contemptible villains, and a rhythmic momentum locked me in, and the overt but powerful social commentary won me over. Dev Patel’s directorial debut is promising and I look forward to more of him both in front of and behind the camera.

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