Monkey Man (Universal, R)
The magic of Monkey Man, doesn’t come from its incredible fight scenes, or it’s brilliant choreography or it’s smart and intelligent cinematography. Instead, it comes from an obvious struggle. You can see, throughout this movie, that Dev Patel’s blood is everywhere. There’s no part of this film that doesn’t scream like something trying to rip its way up through an artist's chest, and out of their mouth. From the first scene to the last everything is fought for. This is given more context the more you look into the development of the film, from Dev Patel breaking his hand in the beginning of filming, to Jordan Peele stepping in and buying the film from Netflix to ensure it gets a theatrical release. This is a project Dev has been working on bringing to life for more than six years. This is a story that screenwriter Paul Angunawela insisted Dev needed to write because every time they spoke on the phone the story poured out of him. This is a film that Neill Blomkamp passed on directing, because he saw the script and looked Dev in the eyes and said, “this is all you.” As a directorial debut, Monkey Man is a thunderous success.
Dev Patel always been a favorite of mine whether it was seeing him in HBO‘s Newsroom or films like The Green Knight, Lion, or Chappie. There’s something about his walk, the way he talks, the way he looks earnestly into the camera that makes you feel like you know him more than you actually do. It’s this level of connectivity, this ability to register with audiences that gives him cache. He immediately appeals to you as a person, but more than that he’s relatable. He has the ability to draw deep emotional attachment out of any scene at the drop of a hat. In Monkey Man he takes that talent and turns it up a few notches past the limiter, turning what might have otherwise been (as people are calling it) the Indian John Wick, instead it's a deeply spiritual, deeply emotional revenge film with faith as its anchor point. It’s a movie that asks you questions both ancient and timeless. Dev spoke about using films as a Trojan horse, using genre as a Trojan horse, getting people in the door because of one thing and using it as an opportunity to talk to them about another. Some may see that as a dishonesty, and yet it serves the nature of monkey man extremely well. Because, in the end, it really isn’t all that dishonest. This is a narrative medium; it's a medium that allows artists to express themselves in unexpected ways. But also, that’s the nature of story, to bring you in through one door and have you exit through another. Monkey Man isn’t a deception, it’s magic.
Because Monkey Man isn’t Indian John Wick. And in that uninformed description I’m reminded of a Childish Gambino lyric. Donald Glover used to be called the black James Franco and he responded by rapping “I won’t stop until they Hames Franco is the white Donald Glover.” Luckily that comparison is no longer made. Both because Donald has proven his immense talent and because Franco turned out to be a shitheel. But I can’t help but think Dev Patel is making a similar statement here. He didn’t see out to make John Wick, rather it is the audiences need to anchor themselves in familiarity when approaching something new. Are there thematic and tropic ties to the Wick films, sure. But Monkey Man is fully capable, and perhaps even best suited to be viewed as a the unique beast of a film it is. A film about resistance through existence. A rallying cry for the oppressed. A film that sees the overlooked and offers them a set of brass knuckles and a target. A film that sees hijras as warriors.
From start to finish, Monkey Man is a tour de force. A gripping tale of revenge and resistance. Dev Patel is electric, dominating the camera and commanding your attention in every moment. He has made it clear he would love to work with Peele again, and with their knack for telling relevant stories through genre, and their panache for flair, I’m desperately hoping we see them collaborate again sooner rather than later.
~Caleb