“Monkey Man” is a bloodthirsty, action-revenge story following the emotional crux of class struggles in modern-day India but painted parallel against the echo of a mythical Hindu legend. Being the long-awaited directorial debut of the British filmmaker, actor and writer Dev Patel, the film explores many angles of its protagonist’s emotional journey and the thematic developments that infuse it, but where it really shines is in its absolutely subversive action.
As the protagonist, writer and director of the film, Patel is the complete mastermind of the film’s entire story, style and weight. He is, in and of itself, a very talented actor who has received nominations for Academy Awards in the past, but here he wholly creates a debut that revels as one of the best in recent film. His childhood love of martial arts is injected into every frame of action with the hellish production itself a story of Patel’s herculean push to create Monkey Man and not have it washed away in the sands of a global pandemic.
There were many conflicts throughout its making, the igniter being COVID-19 as a mechanizer for all the troubles a normal film production has — times 10. Patel broke his hand and toes while shooting. Borders were closed and people were trapped, actors were disabled from reaching the filming locations, budgets were ripped to pieces and still the film managed to come to form by the mass of Patel’s push. And still it glows as a masterclass in action filmmaking.
Before its greatest element, however, comes the emotional story of revenge and acceptance that the film spins. While on the surface the character work and thematic aspects are well written but not stellar, it’s the parallelism with the legend of Hanuman that truly ascends this part of the film. Its story is painted with burning reds throughout the whole length of film, contrasted but exemplified by the grimy setting. And to this end, the myth is retold and completed as a full arc, creating the spectacle of a near-godlike man’s journey.
While soft-spoken, the protagonist degrades and reinvents notions of the underdog while adhering to its thematic premise wholeheartedly. It is satisfying, although not masterfully emotional. But one other unexpected aspect where this film truly soars is in its representation of trans and gender-nonconforming characters. Even in 2024, it is still rare to see such a prominent integration of trans characters within blockbuster storytelling, but here the notion of the underdog combines with this representation to create a true anthem for the oppressed and silenced people of the world. And to this degree, its emotional crux becomes much more powerful with the weight of the meta.
All of the characters are well performed and noteworthy in the film. Although there were not many, they all present distinct personalities that play well in the plot. Patel as the protagonist, Kid, is easily the most outstanding performer. But some other fantastic additions are Pitobsh Tripathi as Alphonso and Sharlto Copley as Tiger. These two were especially bombastic and a true joy to watch.
Easily, the most prominent and commanding element of the entire film is its action or fight scenes. These are some of the most agonizingly brutal, inventive, beautifully crafted action-works that easily stand as new pillars in the realm of martial arts facedowns. The cinematography, in the same vein, amplifies every punch, kick, stab or take-down. The camera work is close up and claustrophobic, making viewers feel as if they might get slammed across the face at any moment. The lens even gets thrown around at certain points — details that stand out as just one of the many unique triggers this film’s action has to shoot. Patel is a genius in this realm, crafting some of the most engrossing and appealing fight sequences in any film whatsoever.
Overall, Monkey Man is a very unique experience, feeling almost like an odd cross between John Wick and a Marvel superhero origin story, with many more layers of color, tone, myth and boldness onto itself. As well, the future of Patel’s career looks absolutely sun-glazed, with this film hopefully ushering in a new wave of action thrillers that aren’t dulled down to the overworked nature of CGI storytelling.
Everything in this film feels real, genuine and heartfelt as the complete product of one young filmmaker. It’s a new testament to many different overlooked aspects of the industry: representation, underdog storytelling, both in the film and in its creation. Any person interested in the works of demonically bloody fighting — those in the realm of film or television — should absolutely see this ape-crazy masterpiece.
