Monkey Man: Dev Patel’s contentious action movie pays homage to two deities, Hanuman and Amitabh Bachchan.

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In Dev Patel’s fast-paced and gritty Monkey Man, a young man invokes the spirit of Hanuman and echoes the essence of Amitabh Bachchan as he seeks vengeance for his mother’s murder.

The art of ‘jugalbandi’—a harmonious exchange of ideas—requires more than one participant. Similarly, in acts of violence, there’s both the one who suffers and the one who inflicts. In Monkey Man, the protagonist grapples with the duality of his existence—he embodies both Parvati and Shiva, the worshipper and the destroyer. Despite being weakened by years of pain, he emerges stronger. In a pivotal scene, he engages in a musical exchange with Zakir Hussain, who urges him to recognize his true potential after a brutal beating. Portrayed by Dev Patel, the protagonist, known as Kid, embarks on a vengeful quest against the godman-turned-politician responsible for his mother’s death.

The film’s contentious subject matter has sparked controversy, reportedly leading Netflix to reconsider its release and delaying certification from the Central Board of Film Certification. Since the Tandav incident, where the cast and crew of Prime Video’s political drama faced police complaints, streaming platforms in India have treaded cautiously around themes of religion and politics. However, Monkey Man doesn’t mock faith; rather, the protagonist is a devout follower of Lord Hanuman. His mission isn’t just to avenge his mother’s death but to reclaim his religion from those who exploit it for personal gain.


Abhishek Bachchan must be beaming with pride. Not only does his childhood friend, Sikandar Kher, deliver a chilling performance in Monkey Man—remarkable, considering his impressive turn in Monica, O My Darling—but the film draws inspiration from the ‘Angry Young Man’ archetype made famous by his father, Amitabh Bachchan, in 70s classics penned by Salim Khan and Javed Akhtar. This isn’t director Vikramaditya Motwane’s first foray into the world of Salim-Javed potboilers either; his breakout film, Slumdog Millionaire, paid homage to Deewaar, while Monkey Man liberally borrows from Zanjeer.

Despite being set in India—underscored by moments like the villain’s cry of ‘Bharat mata ki jai’ rallying his followers—the film is predominantly shot overseas. The extras don’t quite resemble Indians, and neither do the streets. However, Patel demonstrates more care in casting the speaking roles. Alongside Kher, the ensemble includes Pitobash, Vipin Sharma, Sobhita Dhulipala, and Makarand Deshpande. Deshpande notably portrays Baba Shakti, the primary antagonist—a long-haired fanatic accused of exploiting the marginalized, deforesting lands for industry, and inciting violence against minorities. This character isn’t modeled after a single real-life figure but embodies the unseen forces of capitalism manipulating the system. Everyone, even the Prime Minister, serves unseen masters.

Monkey Man’s depiction of ‘India’ bears striking resemblance to the nation during the Emergency era that Amitabh Bachchan’s films fiercely opposed. Much like Bachchan’s iconic characters, who represented public discontent with authority, Monkey Man’s protagonist, Kid, is an ordinary man seeking justice against corrupt politicians, unethical industrialists, and dishonest law enforcement—a theme reminiscent of Bachchan’s Zanjeer. Kid, like Bachchan’s character, witnesses his family’s murder, prompting him to yearn for a lost idealized past.

The Emergency, enforced by former Prime Minister Indira Gandhi, serves as a backdrop, often invoked by the radical right as a cautionary tale against unchecked power, while they defend the actions of their chosen leaders. Those who experienced the Emergency firsthand remember its severe curtailment of civil liberties, press censorship, and widespread imprisonment of dissenters.

Although Monkey Man unfolds in the fictional city of Yatana, a metropolis resembling Mumbai, its message about social inequality resonates powerfully. Yatana mirrors a near-dystopian society where slums coexist with opulent skyscrapers, symbolizing the stark wealth disparity. Children sleep hungry on pavements while affluent individuals live extravagantly just meters away. At the apex of this wealth hierarchy stands Baba Shakti.

With the assistance of his henchman Rana, played by Kher’s cop character symbolizing police corruption, Baba Shakti spreads inflammatory rhetoric to the public. Real-life footage depicting violence against women, protests advocating for Muslim rights, and instances of police brutality inject a necessary sense of urgency into a film that often feels surreal. Patel delivers action in measured bursts rather than overwhelming torrents, carefully building tension until the exhilarating final act when Kid metaphorically ascends to heaven. After consuming a ‘jadibooti’ that transforms him into an avatar of Hanuman, Kid fulfills his vow to reclaim his religion from those who have distorted it, while also rescuing a woman named Sita from evil clutches.

However, there’s an inherent discomfort in all of this. Kid could easily be interpreted as a violent ‘bhakt’—a loner akin to Travis Bickle, who, under the influence of drug-induced delusions, commits an act of domestic terrorism by killing a politician. He’s depicted as a righteous soldier fighting a personal holy war, someone who could be exploited by right-wing extremists dissatisfied with the current regime. But the cultural critique is too blatant to ignore. Monkey Man may not be a flawless action film, but it reflects boundless ambition—a movie crafted by someone uncertain if they’ll ever have the chance to make another.

“Post Credits Scene” is a column dissecting new releases every week, focusing on context, craftsmanship, and characters, because there’s always something to analyze once the dust settles.

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