When I initially saw the trailer for Monkey Man, I was bewildered as countless fight scenes played out before me, with the dreaded “Mundian To Bach Ke” playing in the background. I struggled to comprehend the plot of this movie during the 2-minute clip, yet I was curious about how Dev Patel found himself in this bloody, violent position. Sure, we saw his baby face adorned with cuts and wounds during Slumdog Millionaire, and yet this was a grown, mature version of that same actor, stunting in his John Wick-esque suit. As the movie created buzz throughout the internet and social media, I knew I had to see it for myself. And I will tell you, it did not disappoint. I saw the movie once with my mom, and we talked about it so much that my other friend decided we had to see it. Even though I could not think about anything else but this movie, I still sat on the edge of my seat the second time around, full of anxiety, anticipation, and emotion despite knowing everything that was going to occur. 

Part of what fueled those emotions was the incredible soundtrack, which spanned decades and genres. Compiling all those different songs and making them work required a true musical genius with vast knowledge. While Jed Kurzel compiled various original tracks and pieces to score the film, he also looked to some random artists to lend their sounds. As a result, he built a soundtrack as chaotic as the movie itself, paying homage to all of the sounds throughout musical history that could find their home in a project like this. The soundtrack resonated because it reflected my overall personality and appreciation for music. You had Indian sounds, from traditional tabla scales to hardcore Punjabi bars. But then that was juxtaposed with modern rap, throwbacks that caused a reaction from my parents, sultry remixes, and even a bit of screamo. Every track was so meticulously chosen, and this work of art was the most inspiring way I could find to kick off Asian American History Month. Throughout May, I’ll highlight Asian American excellence, especially within the Philadelphia scene. But to start things out, we’ll dive a bit deeper into the Monkey Man soundtrack, including the tracks that made an impact but weren’t included on the official soundtrack due to not being original creations. I’ll try my best not to spoil anything, but you have been warned that the more excited I get while talking about this movie, the more I may spill.

Vessel’s “Red Sex” kicks off the obscurity of the bar scenes as we are first introduced to the fictitious Monkey Man. The song eases us into this journey with its sexy, electric, retro vibe, teasing us with what’s to come while leading us into a dark abyss. We’re then hit with uncomfortable dissonance and syncopation, chock-full of unpleasant minor notes to throw us off kilter and reevaluate everything we think we know thus far. The song is a fantastic symbol for the movie as we tackle uncomfortable and strange topics, feeling uneasy about simply mentioning these taboos as if we’re doing something wrong. But the reality is that it takes a lot of courage to push through the discomfort and have the conversations that need to be had, just like how the track finally ends with a resolution. 

The song is later revisited in “Red Sex (Re-Strung)”, where British Indian violinist Rakhi Singh lent her talents to open up the song with eerie feelings of terror and fear, once again making us re-evaluate everything familiar. We no longer feel safe in this space as the song transitions back into what we initially heard in the original, letting us know we’re approaching unchartered waters of doom and uncertainty. The song quickly goes haywire, feeling like time is slowly melting in Dali’s melting clock, and taking us down the rabbit hole into what feels like a terrifying acid trip where all your terrors come to life. The musical composition of this song is absolutely mind-boggling, challenging all of your senses and boundaries, similar to the movie and its themes.

Of course, this is a Hip-Hop blog, after all. So I have to talk about the incredible use of American rap songs. JID’s “151 Rum” stood out for me, especially because the song prominently features a string section that resembles the Indian sarangi. It’s quick-witted, fast-paced, and lyrically catchy, playing off the sneaky games unfolding throughout the scene. We witness that as well during the rikshaw scene, where Rick Ross and JAY-Z provide their street cred with the track “The Devil Is A Lie.” The song perfectly matches the gangster vibes of Nicki Minaj, the colorful, pimped-out rickshaw that speeds through the slums. While the rap music helped to create a cool allure with its soulful and bountiful productions, it’s incredible how well the lyrics adapted to the streets of India, demonstrating how much we underestimate the cunning anti-elite, even globally.

While we all know how much I despise “Mundian to Bach Ke,” it served its purpose for the film. The song was used as campy as it should be used, and truthfully, I appreciated the stylistic choice. But they also tapped into other Punjabi rappers and artists, including the sensual vocals and aggressive delivery that went into Rada’s song, “Maushi.” The chorus, which asks the question, “What the fuck did you say, Maushi?” deliciously contrasts vulgar language with sweet, high-pitched Indian vocals, challenging the status quo. Similarly, Lazer X’s “Naam Mera” takes on the Punjabi rap flow that is dominating rap charts all over the world, adding flavor and edge that perfectly matches all of the countercultures represented throughout the movie.

Original compositions, “The Wallet Song,” “On The Ground,” and “Diwali Madness” all utilize different styles of Indian percussion that are so recognizable and expressive within the culture. “The Wallet Song” is light-hearted and energetic, showing you a youthful side to the streets that once again represents the real-life experience the children gain. “On The Ground” is the perfect example of a conflict song in Bollywood movies, especially in the scenes where villains strike. Whether they’re the evil in-laws, enemy rulers, or foreign oppressors, these drums prepare the audience for violence and turbulence. And lastly, “Diwali Madness” is a scary truth of the blind reality we live in when we allow things like religious division to rule our countries. It’s precisely what you would hear in festivals or period movies. Still, the context used in the film showcases a festival of chaos just waiting to ensue, all masked in the false comfort of a religious belief system that rules far beyond its scope. When I initially heard “Restaurant,” I instantly related it back to AR Rahman’s “Mausum and Escape,” probably one of the most incredible songs from Slumdog Millionaire. Though not as outwardly dynamic, the delicacy of the sitar plays beautifully off of the urgent tones, creating an unsettling mood that has you looking over your shoulder as if you’re walking down a dark alley.

But when it comes to the Hindi music used throughout the movie, two very different scenes stuck with me the most. The first, being The Dirty Picture’s “Ooh La La.” The song, plagued with corny Desi perversion that resembles the old sweaty uncle that looks at you just a tad too long was the perfect background noise to work with a fight scene in a slimy Desi brothel, where people can be seen just fucking while Dev Patel is fighting it out with the brothel owner. The humorous touches such as this made the movie such an emotional rollercoaster as your mind processed every thought that passed through your mind, mirroring the very emotions conveyed with each song. This tacky, cliche song that you can hear at any wedding was the perfect cherry on the top.

And yet, even that brilliant choice was outshined by one incredibly strong and moving part of the film that incorporated legendary Shakti band-member, Zakir Hussain. The groundbreaking fusion band was known for their blending of Indian classical music with jazz and rock elements. And let me tell you, when my mom saw Hussain on the screen, she audibly reacted. And I quickly understood why. Not to spoil too much (although words don’t do this scene justice), but Hussain employs classical Indian scales on the tabla to help Kid, Dev Patel’s character, strengthen himself back to recovery and far beyond, using the beats of the drums to set the tempo of Kid’s boxing exercises. The simple acoustic sounds tell a story all on their own, complete with a start, a climax, a solution, and an end. Throughout this short scene, you feel everything being put into both the punching bag and the drums, from the sentiments of sorrow and anger to pride and exhaustion. It is a beautiful representation of the power of music and the way it can be the heartbeat of life.

It is also amazing how different genres of music represent different groups throughout the movie. The frustrations and tribulations of the eunuchs were heard during their powerful fight scene which featured the music of Indian heavy-metal band, Bloodywood. Dana-Dan felt tribal and unhinged with every rebellious bone in the hijras‘ might coming to the forefront as they reclaimed their power. Sexy tracks like Swedish House Mafia and Sting’s “Redlight” reeked of elitism and corruption as you could view the rich flaunting their status and indulging in every pleasure available, from sex to cocaine. And then older songs like Boney M’s “Rivers of Babylon” and Tina Turner’s “I Don’t Wanna Fight” transported the viewer back in time to remind them of the old and conservative views that continued to present themselves throughout the film while also contributing a comedic, tacky sense of nostalgia to help lift the intensity of the movie.

Monkey Man is the type of movie that will sit with you, even moreso if you’re of South Asian diaspora. The film required a lot of courage to create, and I can imagine the subject-matter has received some backlash. But that’s why it meant so much to me. It represented a lot of negative thoughts that I harbor towards my culture. There are a lot of flaws that still need to be talked about, and unfortunately, a lot of us fear repercussions when wanting to do so. But, it’s also important to note that we care about these issues because of the pride we take in our heritage. When Dev Patel made this movie, you could tell the immense love he had in being Indian and the joy he felt in finally having a space to embrace that. But in order for us to see progress and right our wrongs, we need to have uncomfortable conversations. I really do love being Indian. But I want to see change. I want to see acceptance. I want to see equality. And I know art like this will help move us in that direction. 

If you haven’t already, go see Monkey Man in theatres. Support young Brown talent. Help create spaces for more of this work. Because we have so many things we need to talk about. And if you did see it, let me know below what you thought about the soundtrack! 

As I mentioned above, this is the first of a few posts for Asian American Heritage Month. I’m so excited to showcase and highlight some of the Asian creatives around Philly while also having these uncomfortable conversations about our backgrounds and how it impacts us artistically. Please please make sure to check out these posts and show love to every musician mentioned.