Diesel is a familiar commercial action film, presented as a vehicle for actor Harish Kalyan, who recently found success with Parking and Lubber Pandhu, to cement his status as a bankable star. However, this lengthy and convoluted movie often undermines its own goals.
The narrative of Diesel begins with a surprising voice-over from director Vetri Maaran, introducing us to a 17-kilometer crude oil pipeline laid in North Chennai in the 1980s. This pipeline devastated the livelihoods of local fishing communities. When protests proved futile, Manohar (Sai Kumar) seized the opportunity to establish an oil smuggling operation in Royapuram, profiting from the very infrastructure that had caused so much hardship. Years later, Manohar has forged an oil empire, converting crude oil into fuel byproducts for local petrol pumps. His illicit network involves everyone from low-level Oil Corporation of India employees and local DSP Mayavel (Vinay Rai) to powerful figures like Pathan (Sachin Khedekar), a business mogul with significant influence over the nation. Yet, the film insists that Manohar’s motives are not entirely selfish.
Harish Kalyan in a still from ‘Diesel’ | Photo Credit: Think Music India/YouTube
The film goes to great lengths to establish Manohar and, later, his son ‘Diesel’ Vasudevan (Harish), as benevolent Robin Hood figures who utilize the pipeline to aid the struggling fishing community. The constant emphasis on Vasu’s charitable acts, even in his introductory song, clearly signals the kind of movie Diesel aspires to be. Before long, Manohar’s dominant oil operation faces a challenge from Balamurugan (Vivek Prasanna), while a power struggle between Vasu and Mayavel adds more complications.
A major flaw of Diesel is its overly serious tone, which ultimately stifles the potential of a world teeming with gangsters, corrupt police, and a powerful petroleum mafia. Director Shanmugam Muthusamy sprinkles in fascinating trivia about the complexities behind our daily fuel consumption. When he reveals the key players controlling this vital global commodity, it’s hard not to feel like an unwitting pawn in a vast, unseen game. Unfortunately, this intriguing background doesn’t quite elevate the film into a compelling viewing experience.
Diesel (Tamil)
A brief segment in the middle of the film, revealing the chaos that ensues when oil supplies are compromised, offers the only real tension in the entire runtime. Yet, its resolution is deeply frustrating, leaving viewers with unanswered questions and glaring logical inconsistencies (for instance, why would Central government officials attend the funeral of a criminal who had exploited them for years, simply because they acknowledge his supposed moral compass?).
Adding to the film’s shortcomings is a rather unconvincing romantic subplot involving Athulya Ravi’s character, the lawyer daughter of Manohar’s attorney, and Vasu. Her role appears solely to serve a plot point, and director Shanmugam needlessly squanders valuable screen time on this diversion. An odd, unexplained element involving a mermaid appearing in the lovers’ dreams leads nowhere, leaving audiences baffled. Similarly, it’s hard to understand the inclusion of the globally popular ‘Beer Song,’ as no situation in the film genuinely calls for it. The song is supposedly sung by Vasu’s heartbroken friend (Thangadurai), with lyrics like ‘valiyila kudichen di 10,000 beer’a’ (I drank 10,000 beers in pain), yet the visuals show Harish and Athulya, having just declared their affection, playfully interacting with torchlights and beer bottles on the beach!
Harish and Athulya on the sets of ‘Diesel’ | Photo Credit: Special Arrangement
From the poorly conceived pre-intermission scene to the climactic sequence, including the over-the-top storyline and numerous action set pieces, it’s evident that Diesel was primarily designed to bolster Harish Kalyan’s image as a star.
Think of films like Vijay’s Kaththi and Sarkar, Ajith Kumar’s Arrambam, Arjun’s Mudhalvan, or Jayam Ravi’s Nimirndhu Nil and Bhoomi. What unites these Tamil films? They are all commercial vehicles crafted for stars, featuring songs, dances, and fights, where the lead actor makes a significant social statement. These narratives aim to elevate the star as a hero for the masses, often using media influence to address societal problems and engage directly with the audience. It’s a well-worn formula, and it’s understandable why Harish Kalyan might have seen it as his next step. In a way, it is a “level-up” – if only into the realm of a significant ‘big hero’ misstep.
Ultimately, Diesel is a forgettable film for Harish Kalyan. Nevertheless, one must commend the actor for his genuine effort in embracing this new action-hero persona. He looks the part, performs the dances admirably, and delivers a believable action performance. Yet, the film itself desperately needed more original spark and less reliance on tired formulas. A stronger script and more faith in the audience might have made Harish’s dedication truly pay off.
Diesel is currently showing in cinemas.