Harish Kalyan’s ‘Diesel’ Movie Review: An Ambitious Action Debut That Runs on Empty

Diesel arrives as yet another entry in the crowded commercial action genre, seemingly crafted to elevate actor Harish Kalyan to a mass hero status, especially after his notable successes with Parking and Lubber Pandhu. However, this lengthy and often confusing film ironically undermines its own aspirations.

The narrative of Diesel immerses us in its world with an extensive opening, unexpectedly voiced by director Vetri Maaran. It details how a 17-kilometer crude oil pipeline, established in North Chennai during the 1980s, severely impacted the livelihoods of local fishing communities. After futile protests, Manohar (played by Sai Kumar) seizes the moment, establishing an oil smuggling operation in Royapuram and profiting from the very pipeline that devastated so many. Fast forward decades, and Manohar has forged an entire oil empire, extracting and distributing fuel byproducts to local pumps. His network spans from minor players, such as employees at the Oil Corporation of India and local DSP Mayavel (Vinay Rai), to powerful figures like business magnate Pathan (Sachin Khedekar), who discreetly influences the nation’s economy. Yet, the film insists, Manohar’s motivations aren’t purely self-serving.

The film goes to great lengths to establish Manohar – and later his son, ‘Diesel’ Vasudevan (Harish), in the 2014 timeline – as a benevolent, Robin Hood-esque figure, utilizing the pipeline to aid the fishing community. This relentless emphasis on Vasu’s charitable deeds, even in his over-the-top introductory song and dance, becomes a glaring indicator of the film’s true intentions. Before long, Manohar’s oil monopoly faces threats from Balamurugan (Vivek Prasanna), while a brewing ego conflict between Vasu and DSP Mayavel further complicates matters.

Diesel‘s biggest downfall is its overly serious tone, which ultimately prevents it from capitalizing on the intriguing premise of a world teeming with gangsters, corrupt police, and a shadowy petroleum mafia. Director Shanmugam Muthusamy sprinkles in interesting facts and insights into the workings of our daily fuel supply. At one point, revealing the true puppet masters behind the world’s most critical commodity leaves you feeling like a helpless pawn in a game far beyond your understanding. Yet, despite these intriguing tidbits, the film struggles to become a truly captivating experience.

A brief section in the middle sees the film briefly shift into high gear, revealing the intense repercussions when oil supplies are under attack. This sequence stands out as the sole thrilling segment of the entire runtime. Unfortunately, its resolution is baffling, straining credulity and leaving viewers with unanswered questions and significant plot holes (for instance, why do high-ranking Central government officials attend the funeral of a lifelong criminal who defrauded them for decades, simply because they discover he possessed a supposed ‘moral compass’?).

Adding to the film’s woes is a rather uninspired romance between Vasu and Athulya Ravi’s character, the lawyer daughter of Manohar’s own legal counsel. Her role seems purely functional, yet director Shanmugam squanders valuable screen time on this underdeveloped subplot. An inexplicable element involving a mermaid appearing in the lovers’ dreams leads nowhere, leaving audiences bewildered. Similarly, one can only scratch their head wondering why the globally popular track, ‘Beer Song,’ was included at all, given its utterly mismatched placement. The song is supposedly sung by Vasu’s heartbroken friend (Thangadurai), with lyrics lamenting, ‘valiyila kudichen di 10,000 beer’a‘ (I drank 10,000 beers in pain) — but the accompanying visuals bizarrely depict Harish and Athulya, moments after confessing their love, playfully cavorting with flashlights and beer bottles on the beach!

From the poorly conceived pre-intermission scene to the chaotic climax, the film’s overarching ambition to be larger-than-life, coupled with numerous action sequences, makes one thing abundantly clear: Diesel was explicitly designed as a vehicle to boost Harish Kalyan’s star power.

Consider 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 blockbusters? They are all commercial star vehicles packed with songs, dance numbers, and fight scenes, where the lead actor champions a social cause, is elevated as a hero for the masses, and often leverages media influence to tackle societal issues while directly addressing the audience. It’s a tried-and-true formula, and it’s understandable why Harish Kalyan might have viewed this as his opportunity to ascend. In a way, it is a ‘level-up’—a classic ‘big hero’ misstep, to be precise.

Ultimately, Diesel proves to be a forgettable addition to Harish Kalyan’s filmography. Nevertheless, one must commend the actor for his genuine effort in venturing into this new action-hero territory. He physically embodies the role, executes dance routines skillfully, and delivers a believable performance as an action lead. However, this cinematic engine desperately needed a stronger spark of originality and less reliance on a worn-out formula. With a more compelling script and greater faith in its audience, Harish’s dedication could have truly paid off.

“Diesel” is currently playing in cinemas.