Starring: Dev Patel, Sharlto Copley, Pitobash, Vipin Sharma, Sikander Kher
Distributor: Universal Pictures
Runtime: 120 mins. Reviewed in Apr 2024
Reviewer: Fr Peter Malone msc
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An anonymous young man unleashes a campaign of vengeance against the corrupt leaders who murdered his mother and continue to systemically victimise the poor and powerless.
The posters seem sinister, containing a warning. Audiences will know London actor with Indian background, Patel, from his presence in Slumdog Millionaire, Best Exotic Marigold Hotel, David Copperfield, and his Oscar Nomination for The Lion. But, returning to the warning; this is not really like any of those roles. This time, as many have noted, he is like an Indian John Wick.
The John Wick films were marked by strong action, with many fights, high body count and an atmosphere of violence. Which is the case here. Patel, who trained in martial arts from a young age, is an admirer of action films. This is his showcase movie. Not only is he the star, he has collaborated with the story and the screenplay, has produced and is his first film as director. Clearly, he has put a lot of effort into his production. Location photography in India but the film was made in an Indonesian studio with postproduction work in Australia. The photography is stylish, the choreography for the fights intense, the editing dramatically paced.
Patel also remembers the Hindu myth of the Monkey Man, Hanuman. In fact, the film opens with a little boy in the countryside with his mother telling him the legendary story of the strong monkey man who is a 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, wearing a monkey mask, going to the ring of an underground fight club (though with fanatically cheering crowds) of martial arts boxing. He makes money by being brutally defeated. He engineers an interview with a boss woman who runs a high-class restaurant (and brothel) for the wealthy, local politicians, police and international visitors.
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.
Flashbacks reveal strong motivation for revenge against politicians, financiers, a guru who promotes himself on television who have collaborated in ousting poor citizens from their homes and land for big business purposes. 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 to wreak his vengeance.
It is tough going for The Kid as well as for the audience, but fans of John Wick and, now, The Kid, will be satisfied.
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