Monkey Man is Dev Patel’s first feature film as a director. He had already tried the director’s chair twice in short film work, but it is in the role of actor that he is best known. His great rise to fame came in 2018 with the Danny Boyle film Slumdog Millionaire. Now we have him twice as he is not only behind the camera, but he also fills the shoes of the main actor in this action epic which is Monkey Man.
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Let’s explore the Samurai Figure in the history of cinema through 7 essential films.
The Seven Samurai (1954)
It is impossible to approach the samurai film genre without mentioning the master Akira Kurosawa. The Seven Samurai is one of the most important films in the history of cinema and one of the most influential. The Japanese director’s work is full of these legendary warriors. In The Seven Samurai, Kurosawa’s mastery is manifested in each composition and in each of the battle sequences; this was the first film in which the director used multiple cameras.
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The Zone of Interest welcomes the audience with a black screen filled with an ominous sound that makes us anticipate the worst. We imagine that when that first image finally appears on the screen it will be terrifying. But director Jonathan Glazer’s intention is different. The first thing we see is a peaceful day in the countryside and a family enjoying themselves on river banks. Although what we see is not disturbing, the anticipation and the music have created in the audience the objective of disturbing and making the mind invent distressing scenarios.
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In these days of uncertainty, panic, and apocalyptic speeches, I felt like returning to The Seventh Seal (1957). The story of the knight Antonius Block (Max von Sydow) and his squire Jöns (Gunnar Björnstrand) returning home from the Crusades to find the desolation caused by the Black Death is more than appropriate to me. In the middle of the 14th century, the world experienced its deadliest pandemic, and the population of the European continent was drastically reduced; some figures indicate more than 50 million deaths. The one also known as the black death is a worthy protagonist of any horror film. But for Bergman, the story of the deadly pandemic served as medicine to exorcise his own demons. Death was one of the many recurring themes in the filmmaker’s work, perhaps the one that obsessed him the most.
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I come to David Fincher’s The Killer with eagerness. I am driven by a longing to find the Fincher from Se7en (1995) or perhaps the one from Zodiac (2007). My search does not seek comparisons but to come across the visual style and the unique staging that have made the North American director a reference in the film industry. I am inclined to specifically mention those two films from his filmography because The Killer invites us into a world that beats the rhythm of murderers and emotionally complex characters. In the end, I leave this meeting recognizing the work of an experienced director, who knows the job and demonstrates it but who does not leave his mark with the impetus with which he did before.
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The Last Movie Guy 