As Hollywood film “Monkey Man,” a vengeance-laden action thriller featuring British talent Dev Patel, gears up for its promotional cycle, eagle-eyed social media users have spotted a notable alteration. Political banners, previously portrayed in saffron – a hue deeply associated with Indian right-wing politics – have been changed to red in the film’s marketing materials. The film not only stars the “Slumdog Millionaire” breakout actor but is also under his directorial command. Despite being initially picked up by Netflix, Hollywood news source World of Reel reports that the streaming giant has since stepped back from distributing the film, wary of content that could potentially ruffle feathers amongst right-wing constituencies in India.
As seen in two distinct trailers, one shot in particular heralds the subtle change that has garnered attention, reflecting the broader pattern of Hollywood’s compliance with varied international market sensibilities – a recognition of India’s burgeoning role in this global earnings tapestry. This phenomenon isn’t unique to India; Hollywood’s relationship with Chinese censorship is also reflective of an industry willing to amend its art to appease a massive market. Take, for example, the 2012 “Red Dawn” remake, which saw its antagonists shift from the Chinese to North Korean army during post-production.
Texas engineer Venki Manickam, who attended an advanced screening in Austin, noted not just the amended banners, but also the presence of flags still boldly donning saffron, reminiscent of the BJP party’s emblem. Manickam further divulged details about the film’s narrative realm, resembling real-world politicians, institutions, and controversies. However, he emphasized the fictional aspect of the story, with a blending of religious communities opposing Christianity in a politically charged domain. Moreover, a snarky female politician named Rahul is depicted, bringing forth a hint of satire to the on-screen tale.
Despite the politicized undertones, Manickam firmly stated that allegations of “Hinduphobia” don’t hold up, particularly as Patel’s character embodies Hanuman in a righteous quest for vengeance. The specifics of additional edits tailored for the Indian audience remain undisclosed, with the Central Board of Film Certification yet to give the film a green light for showing on Indian soil. While Universal Pictures India teased an April 19 release in multilingual trailers, more recent teasers refrain from mentioning a date.
After its release was dropped by Netflix, the production was nabbed by Jordan Peele’s Monkey Paw Productions. Queries tossed at Universal Pictures, Monkey Paw, and a publicist for Mr. Peele about further modifications to “Monkey Man” remain unanswered – a silence that signals the tightrope these companies walk in politically sensitive landscapes.
With escalating caution, international entertainment firms are increasingly mindful of Indian sentiment, some preferring to sidestep potential backlash entirely. Online platforms like Netflix, which once offered pre-theatrical cuts of Indian films, have clamped down on such practices, emulating Amazon Prime Video and Disney+ Hotstar’s conservative playbook.
As for “Monkey Man,” the possibility of an uncut Indian release remains uncertain. Nonetheless, the film has already proven financially victorious, raking in over $12 million during its opening weekend, a figure triumphantly surpassing its production costs. The cinematic landscape continues to evolve, and it’s clear that the pull between creativity and market compatibility is as strong as ever.
