Displaying items by tag: Dev patel

MONKEY MAN

India/US/Indonesia, 2024, 121 minutes, Colour.

Dev Patel, Sharlto Copley, Pitobash, Sikander Kher.

Directed by Dev Patel.

The posters seem sinister. A warning.

Audiences will know London actor with Indian background, Dev Patel, from his presence in Slumdog Millionaire, Best Exotic Marigold Hotel, David Copperfield, and his Oscar Nomination for The Lion. But, that warning, this is not really like any of those roles. This time, as many have noted, he is like an Indian John Wick. And those John Wick films were marked by strong action, many fights, body count, an atmosphere of violence.

And, this is definitely the case here, Dev Patel having trained in martial arts from when he was young, admiring action films. And this is his showcase, not only is he the star, he has collaborated with the story and the screenplay, has produced and, his first film as director. Clearly he has put a lot of thought and effort into his production, location photography in India but, in fact, the film made in an Indonesian studio with postproduction work in Australia. The photography is stylish, the choreography for the fights intense, the editing dramatically paced.

Dev Patel also remembers the Hindu myth of the Monkey Man,, Hamuman. In fact, the film opens with a little boy in the countryside, his mother telling him the story, some visuals of the mythology, the strong monkey man, courageous, saviour figure. And, this image recurs throughout the film, a religious motivation for all the action that ensues. The central character is known as The Kid.

When we see him as an adult, he is masked, a monkey mask, going to the ring of an underground fight club (though with fanatically cheering crowds) of martial arts boxing, his making money by being brutally defeated. He engineers an interview with a boss woman who runs a high class restaurant, for the wealthy, local politicians, police, international visitors, restaurant and brothel.

The Kid works in the kitchen, befriends a fellow worker, ingratiates himself, even to becoming a waiter in the top floors, but overcome with disgust at the affluent indulgence of the guests. And we might wonder what he is doing here, what are his ambitions.

For audiences intrigued by what has happened and the way that it has been presented, even the violence, there is plenty more to discover. However, some of the violence, especially the long fight sequences, drawing on the dramatics of Indian filmmaking as well as Asian martial arts films (from China and Indonesia), this may be too much – and there is even more, and even more, to come.

But, flashbacks reveal strong motivation for revenge, politicians, financiers, a guru who promotes himself on television, collaborating in ousting poor citizens from their homes and land for big business purposes – and, quite harrowing, the attack on The Kids mother. While he does attempt to shoot the police chief responsible for the attack and his mother’s death, he fails, escapes into a commune where he takes time to train, boxing, fighting skills, building himself up.

It is election time, The Kid goes into the underground ring again but is triumphant, initially even with one blow, but his friends bet on him and there is enough money for the members of the commune to get their costumes, be ready to join in his vengeful attack.

It is very much a vengeance is mine confrontation, the restaurant, the guests, the police chief, the Guru.

Very tough going for The Kid as well as for the audience, but fans of John Wick and, now, The Kid, very satisfied.

.

1. The title? Indian mythology? The story Hanuman, the monkey, courage, leadership? The initial telling of the story by his mother to The Kid? Visualising? The later references throughout the film?
2. The work of Dev Patel, story collaboration, writing, producing, stirring, directing? The impact of his presence?
3. Living in Indonesia? The fictional Indian city, the visuals, the night, the skyscrapers, the streets, the clubs, the VIP lounge, the kitchen? The political sequences, television interviews and coverage, lifestyle of the politicians, the guru? The contrast with the countryside and forest? Martial arts boxing, the ring, the audiences? The refuge and The Kid and his training? The musical score?
4. Creating the atmosphere, mother and son, the devotion, the repetition of the mythology in Korea, respect for the courts? Keeping the flashbacks till later, the attack on the community, taking over the land, the boy in the house, his mother insulting the police chief, his coming for revenge, the sexual attack, her death, the boy watching, the house set alight?
5. The introduction to the adult Kid? In the ring, the opponents, the mad crowd, betting, cheering and? His defeat? The mask? Tiger, MC, manager, control, with the crowds? Entrepreneur? The Kid and his return bouts? Later, after his training, the instant knockout, the crowd silent, the next opponent, defeat, the betting? Tiger and his reaction? The crowd chanting?
6. The Kid and his ambitions, motives for revenge, the information about the manager, her ruthlessness, the stealing of her purse, the chain of contact, his returning it to her, the interview, his burnt hands? The job, working in the kitchen, interactions with Alphonso, the jobs, the VIP lounge, serving the drinks, the encounter with the young prostitute and the bosses demands, the encounters with the clients, behaviour? The Kid and his disgust? Eventually going to the upper room? The police chief and the other politicians, the decadence?
7. The confrontation with the chief, the fight, Kid buying the gun, practising? The fight, his losing, the pursuit, escaping? Taking refuge in the forest? The community, the leader, the musician, the music with male and female and the drama? Using the music for Kid’s training, the discipline, the perseverance, being ready for the final confrontation?
8. The final bout as Monkey Man, the boy and placing the money, the win, the finance for the rebels, the costumes, to be ready to attack?
9. The social critique of the film, the wealthy, exploiting the land, profits, the police and corruption, the religious guru, the television publicity?
10. The political atmosphere, the elections, the party, the campaigning? Ordinary people as victims?
11. The Kid and his return to the restaurant, the political gathering, the attack in the kitchen, the fights, martial arts, weapons? Going upstairs, the attack, people fleeing? Continued fighting, his supporters coming? The top room, the fight with the police chief, the extent detail, the violence of his death? The Chief’s taunts about Kid’s mother? Finally going to the tower, the guru, his smug comments, the threats, the weapons, Kid turning the tables, death?
12. The insertion of flashbacks throughout the film, The Kid and his memories, his mother? And the final happy memories?

WES ANDERSON’S SHORT FILMS FROM ROALD DAHL STORIES.

THE WONDERFUL WORLD OF HENRY SUGAR

THE SWAN

POISON

THE RAT CATCHER.

THE SHORT FILMS

Roald Dahl novels and short stories have been very popular on screen since the 1960s, Willy Wonka (and several versions since), stories like The Witches, Matilda, James and the Giant Peach. Here is a selection from his short stories.

Wes Anderson had already made a film of a Roald Dahl story, the animated feature, The Fantastic Mr Fox (with voices of George Clooney, Meryl Streep).

This time he has made what might be called live-action animation, actors performing but with very stylised backgrounds and sets, and action within the scenes of sets being moved, of stagehands coming in with props and removing them, and equivalent of stage performance. Anderson had used this kind of live-action animation in his feature, Asteroid City.

As with all his films, he assembles a distinguished cast – each of them appearing in several of these stories, Ralph Fiennes as Roald Dahl himself, the narrator, but also the rat catcher; Ben Kingsley as the man who can see without eyes, as a doctor; Dev Patel as a doctor and a friend of a patient; Richard Ayeode as a doctor, as a service station assistant, as a guru; Rupert Friend at the service station and narrating the story of The Swan.

The screenplay for each story retains the text written by Dahl – all expertly recited, often very rapidly, and the films could serve as audiobooks. The dialogue includes even the interjections, “he said”, spoken by the actors, turning to camera, then turning back to the action. In fact, there is a lot of direct speaking by the actors to the camera, breaking the fourth wall, talking to the audience.

This has quite a dramatic effect, the audience observing, invited to be involved, making judgements on the characters and their behaviour, opinions on the issues.

And there are issues:

Henry Sugar as a character who is not likeable, arrogant, self-centred, listening to a story about an Indian guru, capitalising on the techniques that the Indian used to be able to see things without his eyes (and the story of the Indian himself and his training and success), Henry Sugar then exploiting the technique, winning and winning vast amounts of money at the casinos, facing the fact that he does not need the money, deciding to give it away, throw it from his balcony, but a policeman coming to tell him that he is disobeying the law. So there is redemption for Henry Sugar.

A theme of The Swan is bullying, the focus on a young boy and his grown-up self narrating the story of the bullies at school, the effect on him, persecution, ridicule, and his developing wings to fly away from the bullying.

There is racial prejudice in Poison, the story of an officer in India, lying in bed, stating that a snake has attacked him and asking his close friend and ally to get a doctor to administer remedies. In his desperation, the officer is condemnatory of the doctor and his Indian background.

There is something sinister about The Rat Catcher, again Roald Dahl telling the story but then Ralph Fiennes hired as a Rat Catcher by a journalist and the owner of a service station, discussions about animals and rats, menace, the methods of dealing with rats, the rat catcher meanwhile becoming all the more rodent -like.

Netflix is showing all these stories – as a continuous program or as separate short films.