‘Monkey Man’ Not Only Effaces ‘Slumdog Millionaire’ Image of India But Also Challenges Rising Chauvinistic Forces

Fifteen years after Dev Patel was introduced to global audiences as Jamal Malik in “Slumdog Millionaire,” he presents a response to the film that thrust him into international recognition. “Monkey Man” swings onto the screen with all the gusto of a circus acrobat, blending themes of revenge, class warfare, and the high-wire act of Hindu nationalism into a captivating spectacle. 

The film introduces us to the unnamed protagonist, “Kid” (played by Dev Patel), who navigates the brutal world of an underground fight club run by the menacing Tiger (Shalrto Copley). Clad in a monkey mask, Kid’s journey is defined by the bloodshed he inflicts and endures, symbolizing his relentless pursuit of vengeance. However, amidst the chaos, glimpses of his troubled past emerge, shedding light on the trauma that fuels his rage and his quest for retribution.

Depictions of India in “Slumdog Millionaire” often showcased grossly explicit scenes of child exploitation and violence simply to elicit reaction from the Western audience or what we label poverty porn. Furthermore, the film has been criticized for its treatment of its child actors, filming slums without the permission of owners, and doing what white people often do best, exploiting the Global South for their financial benefit and fame. 

For Patel, “Monkey Man” feels like his own form of retribution, returning to some of the format choices for this film, with a mixed language story, a gripping, trialed storyline, and yet with a much deeper sense of purpose.

Drawing inspiration from the tales of Hanuman, “Monkey Man” mirrors the legendary deity’s trials and tribulations. The film repeatedly references the tale of when Hanuman seeks the mango in the sky and eats it (not realizing his mango is really the sun) and plunges the world into darkness. In this story, the gods are furious at him and reduce his powers so that he can no longer enact that amount of power in the world. 

Like Hanuman, Kid grapples with a sense of powerlessness and disillusionment but more starkly a loss of childhood innocence and joy. The gods, distant and unforgiving, serve as a reflection of the greed and corruption of figures like Baba Shakti.

Despite Hanuman being considered one of Rama’s ultimate devotees, Rama’s presence seems deliberately decentered in “Monkey Man.”

Baba Shakti’s portrayal as a manipulative figure exploiting Hinduism for personal gain draws parallels to real-life religious leaders turned political influencers. Through Shakti, the film exposes the insidious nature of Hindu nationalism and its role in perpetuating social inequality. His characterization seems like a combination of the traits of Baba Ramdev, Yogi Adityanath, and numerous other godmen who have transitioned into political figures rooting their popularity in Hindu nationalism and intolerance. 

Scenes of Shakti engaging in religious practices like yoga, meditation, and prayer to consolidate his power highlight the perversion of spirituality for selfish ends, showcasing popular ways that Hinduism has been co-opted. We see the people ‘closest’ to god abusing their power and actively structuring and reinforcing societal oppression. These scenes parallel the BJP government’s process of ‘Om washing’ which uses the language and spirituality of aspects of Hinduism like yoga and meditation to divert attention from their Hindu nationalist agenda.

Amidst the darkness, Kid finds solace and sanctuary at a hijra temple, where he is embraced by a community familiar with pain and ostracization. It is within this sacred space that he encounters Ardhanarishvara, the divine embodiment of both Parvati and Shiva, the feminine and masculine and therefore neither man nor woman—a deity revered by the hijra community as their spiritual anchor. 

Through a mesmerizing montage of Patel repeatedly hitting a punching bag to the drums of a tabla player, we witness Kid’s evolution as he immerses himself in rigorous training and discovers newfound pleasures beyond the confines of his vengeance. In this blossoming, he discovers a profound belief in joy and divinity, transcending his complete distrust of the gods. 

Patel leans into the moral gray throughout the film, never letting Kid become an uncomplicated hero and not clearly resolving the question of whether Kid’s actions are creating a path to justice. Notably, we see the absence of a representation of Rama in the film. From the Ram Mandir’s recent opening to the chants of ‘Jai Shri Ram,’ as bulldozers tear down the homes of Muslim minorities in India, the image of Rama has been co-opted to be synonymous with Hindu nationalism. 

Despite Hanuman being considered one of Rama’s ultimate devotees, Rama’s presence seems deliberately decentered in “Monkey Man.” It feels as though Rama’s absence in the narrative is to create space for more non-dominant representations of Hinduism.

The film’s depiction of Hindu deities, particularly those revered by marginalized communities like the hijras, marks a significant departure from mainstream representations. It responds to the bastardizations and liberties that projects like “Slumdog Millionaire” took part in when portraying India to a Western audience. 

“Monkey Man” feels like a stark contrast to the tonally inconsistent Jai Ho performance in “Slumdog Millionaire,” and showcases how important care is when creating political art that identifies with a large variety of audiences. By centering these voices, the film challenges conventional narratives of Hinduism, offering a more inclusive and nuanced portrayal of its diverse beliefs and practices.

(Top photo, Akhirwan Nurhaidir / Universal Pictures.)

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Thrisha Mohan has a background in labor and political organizing across Seattle and Washington, D.C. Her expertise spans several critical areas, including reproductive rights at NAPAWF and labor issues with the Campaign Workers Guild and IUPAT. She holds a B.A. in Literature and Economics from American University where her senior thesis explored the influence of Amar Chitra Katha comics on the South Asian diaspora in the United States.