In a forest village in India, Kid grows up listening to the stories of Hanuman, the monkey god, told by his mother Neela; until their world is brutally destroyed. Years later, Kid has become a masked fighter in an underground boxing club, determined to avenge his mother’s death at the hands of the evil guru Baba Shakti and his henchman, the corrupt policeman Rana Singh.
It is sad to see how contemporary cinema is increasingly spiralling into a spiral of remakes or poorly made derivative films. However, art-house cinema has always managed to take a film and make a good if not excellent remake of it. Think of the already excellent ‘Scarface’ (1932) by Howard Hawks which, remade by Brian De Palma in 1983, became a masterpiece in the history of cinema, also thanks to an Al Pacino and a Michelle Pfeiffer in a state of grace.
So when director Jordan Peele decided to snatch Patel’s film from streaming and release it in cinemas, we expected the quality to be, if not excellent, at least very good.
Instead, the film is a hodgepodge, with some things even enjoyable if you are a fan of so-called ‘beating films’, but in the end it is a flat film, with few directorial insights, a poorly written screenplay, but even worse what is the worst thing that can happen to these action films: few fight scenes and an editing that is not up to the mark. Patel does not prove to be a good director and above all shows all his inabilities and shortcomings as a screenwriter. Let us analyse the screenplay in detail, so that you can understand why the film does not work:
Anatomy of an Unfinished Screenplay
The screenplay of ‘Monkey Man’ represents an intriguing case study of how narrative ambitions can clash with the limitations of an acerbic execution. The film’s three-act structure reveals immediate frailties. The first act, crucial in establishing the emotional foundations of the story, suffers from excessive compression. The presentation of the founding trauma, namely the death of Kid’s mother, is treated with a superficiality that undermines its emotional impact. The transition to the second act, where Kid emerges as a masked fighter, lacks the necessary dramatic progression to make this transformation believable. The characters are poorly handled. The figure of the protagonist, the Kid, is rather flat and stereotypical, merely embodying the role of the traumatised young man without deepening the nuances of his personality. His transformation into a masked vigilante seems abrupt and poorly motivated, lacking a credible psychological progression. The reference to Hanuman mythology, while fascinating, remains a decorative element, without being fully integrated into the narrative and the protagonist’s growth path.
The antagonist Baba Shakti is overly stereotyped, merely embodying the role of the evil guru without deeper nuances. His motivations remain vague, making him a one-dimensional antagonist. The relationship with Rana Singh, the corrupt policeman, is only hinted at, thus missing the opportunity to create a more complex and intriguing antagonistic dynamic. The Female Figure is, unfortunately, a missed opportunity Sita, the woman who works in the nightclub, represents a character with unexpressed potential. Her characterisation is fragmentary, oscillating between different female archetypes without ever defining a true identity. Although initially presented as a potential love interest, her relationship with Kid does not develop a convincing chemistry. Her past as a victim of human trafficking, though hinted at, is not sufficiently explored to give the character the complexity she deserves. Her function in the narrative remains ambiguous, fluctuating between that of an ally of the protagonist and a simple decorative element. The scenes in which she interacts with Kid lack the dramatic tension necessary to justify their bond.
Moreover, one could have dared more by diversifying the woman’s origin, choosing a country from Eastern Europe or even more so from Africa, instead of choosing Indian origin. Choosing a woman of Muslim religion would have made the character even more complex.
The secondary character system is not developed enough. It shows a worrying tendency towards narrative abandonment. Alphonso, initially presented as Kid’s close friend and confidante, leaves a sense of incompleteness. His initial presence promised a key role in the plot, but he later disappears without satisfactory explanation. His potential as a moral counterpoint to the protagonist, offering an alternative perspective or challenging Kid’s choices, is unfortunately neglected.
The Hijra Community, while presenting innovative potential for the action genre, is unfortunately exploited in a superficial manner. While offering the opportunity to explore interesting facets of Indian society, its role is reduced to a mere exotic representation. An in-depth analysis of the culture and social significance of this element is lacking, being limited to a stereotypical description.
The stray dog, a visual symbol of Kid’s loneliness, while a potentially powerful element, is handled inconsistently. Its intermittent presence does not find a convincing narrative justification and its symbolic potential remains unexplored. Its appearances seem random, unrelated to a precise plot development. Ultimately, this element is introduced and then abandoned without any real impact on the narrative.
The interaction between the characters is simplistic. The dialogues are flat and incisive, lacking the depth that could make the interactions more interesting. The relationships between the characters do not evolve organically, often remaining static and insignificant. The group scenes, in particular, are not very dynamic and do not contribute to creating a real sense of community. The network of relationships initially presented, such as that of the Indian delinquency, is soon abandoned, preventing the construction of a solid social environment on which to base the plot. The handling of secondary characters shows a lack of depth in the writing. Characters seem isolated in watertight compartments, with limited and insignificant interactions. The narrative arcs introduced are often abandoned halfway through, depriving the story of an organic development. The dramatic potential of the relationships between the characters, especially the female ones, remains unexpressed, with superficial and stereotyped characterisations. This weakness in the handling of supporting characters undermines the credibility of the entire narrative universe, making Kid’s story a solitary revenge instead of a richer, more layered emotional odyssey.
The dialogue suffers from a tendency towards didacticism that compromises the depth of character interactions. Conversations often lack subtext, merely conveying plot-driven information instead of revealing character nuances or underlying dramatic tensions. The use of flashbacks in this narrative, instead of enriching the reader’s experience, ends up fragmenting it. The continuous temporal interruptions create a discontinuous rhythm that distracts attention from the main narrative flow. The transitions between present and past are often abrupt, lacking the fluidity that would make the experience more immersive. In particular, the memories related to the death of the mother, although a key element of the story, do not bring the expected psychological depth.
The dialogues suffer from a tendency towards didacticism that compromises the depth of interactions between the characters. The conversations often lack subtext, limiting themselves to conveying plot-driven information instead of revealing character nuances or underlying dramatic tensions. The use of flashbacks in this narrative, rather than enriching the reader’s experience, ends up fragmenting it. The continuous temporal interruptions create a discontinuous rhythm that distracts from the main narrative flow. The transitions between present and past are often abrupt, lacking the fluidity that would make the experience more immersive. In particular, the memories related to the mother’s death, despite being a key element of the story, do not bring the expected psychological depth. The viewer anticipates the event, thus nullifying the surprise effect and the emotional impact that such a significant memory should have. It almost seems as if the flashbacks are forcibly inserted, more to provide information than to deepen the protagonist’s psychology.
The screenplay aims to explore multiple themes, intertwining Kid’s personal revenge with a social critique of corruption in India, mythological elements related to Hanuman, and a representation of marginalised communities. However, this ambition clashes with a superficial realisation. Each narrative thread, despite carrying notable potential, is addressed in a fragmented manner, lacking the necessary depth and integration. The result is a plot that disperses in various directions, without being able to give each of these themes the space and attention they deserve. The symbolism in the film appears forced and underdeveloped. The mask, emblematic of Kid’s new identity, remains a static element, unable to evolve and reflect his inner transformation. The parallel with Hanuman, though hinted at, is not deepened, leaving a rich potential of symbolic meanings suspended.
Finally, the narrative rhythm is characterised by continuous jolts, with sudden accelerations that break the flow of the story and action scenes that interrupt rather than culminate the narration. The key moments lack the necessary dramatic build-up, leaving the viewer disoriented and dissatisfied.
The screenplay of “Monkey Man” reveals Patel’s inexperience as a screenwriter. Good insights such as the intertwining of personal revenge and mythology, social critique, and action elements do not find an organic synthesis. The result is a script that, while showing potential, fails to fully develop any of its constituent elements. The weaknesses of the screenplay inevitably reflect on the direction, creating a domino effect that compromises the overall effectiveness of the film. One would expect that at least the cinematography could compensate for these significant gaps and problems with well-shot sequences, but this does not happen often.
Behind the camera: a mix of high technology and experimentation
To capture the frenetic energy and cinematic aesthetic of “Monkey Man,” the crew relied on a cutting-edge technological arsenal. At the heart of the production is the Arri Alexa Mini, a digital camera renowned for its versatility and extraordinary image quality.
To complete the setup, the anamorphic lenses Anamorphic/i S35 Cooke, known for their ability to create a stretched and detailed image, and the Panchro/i Classic S35 Cooke lenses, which provide a more classic and cinematic touch, were chosen. The use of anamorphic lenses, with their characteristic 2.39:1 aspect ratio, immerses the viewer in a wider and more engaging visual experience, emphasizing both the more dynamic action sequences and the moments of greater intimacy.
However, not everything went smoothly during filming. Due to technical contingencies and temporary budgetary issues, it was necessary to use iPhones on some occasions. This choice, although unusual for a film of this scale, is a testament to the flexibility and determination of the crew to complete the project.
Another distinctive feature of the photography of “Monkey Man” is the introduction of the “pendulum cam”, a custom rig created by director Dev Patel himself to capture action scenes from unexpected and dynamic angles. This choice gives the fight sequence a unique visual energy, emphasizing the choreography and fluidity of the movements.
The controversial “shaky cam” and the representation of fights
But it is the massive use of the “shaky cam” that has divided critics and audiences. This technique, which consists of moving the camera in an irregular and sometimes abrupt way, has been used pervasively to create a sense of immediacy and involvement in the unfolding of the action. However, many viewers find this choice excessive, complaining about difficulty in following the choreography and fully appreciating the martial skills of the protagonist, Dev Patel himself, a black belt in taekwondo. The excessive shaking of the camera, combined with frenetic editing, ends up obscuring the clarity of the action sequences, making it difficult for the viewer to appreciate the fluidity and precision of the movements.
For lovers of technicalities, we want to explain the differences between Shaky cam and Pendulum cam well because there is a risk of misunderstandings.
The shaky cam and the pendulum cam are two cinematographic techniques that exploit the movement of the camera to create specific visual effects. The first, characterized by irregular and often sudden movements, simulates the point of view of an observer in motion or in a stressful situation, creating a sense of immediacy and realism. The second, instead, uses an oscillating and controlled movement, similar to a pendulum, to generate dynamic and fluid shots, often used in action scenes or to emphasize the beauty of a movement.
| Technique | Characteristics | Effect | Typical use |
| Shaky cam | Irregular, abrupt movements | Realism, immediacy, disorientation | Chases, panic scenes |
| Pendulum cam | Oscillating, controlled movements | Dynamism, fluidity, beauty of movement | Action scenes, choreography |
Conclusions
Despite the many weaknesses listed above, “Monkey Man” also has some merits. The film boldly addresses important issues such as corruption, social inequality and violence in India, also using archive footage of real protests. However, critics have raised concerns about the simplification of the complex reality of India and the omission of the Muslim population, who are victims of discrimination and violence. The choice to digitally alter the saffron flags, a symbol of Hindu nationalism, to avoid controversy, has been seen as an act of self-censorship that weakens the film’s political criticism. Another interesting aspect of “Monkey Man” is the way it intertwines Indian mythology with Kid’s story. The film draws a parallel between the protagonist’s revenge and the heroic journey of Hanuman, the monkey g
Despite being inspired by “John Wick,” “Monkey Man” attempts to distinguish itself by incorporating elements of Indian culture and reality. The integration of mythology, social criticism, and the representation of marginal characters are elements that differentiate the film from its model. However, the weak script, inconsistent direction, and fragmented editing prevent “Monkey Man” from realizing its potential and emancipating itself from the shadow of its inspiration. Or even just from being a sufficiently successful film.
“Monkey Man” is an ambitious work with a strong message, but its execution is lacking in several aspects. Despite Patel’s commitment and the visual strength of some sequences, “Monkey Man” remains an almost entirely missed opportunity.