Who would have thought when they saw skinny little Dev Patel in “Skins” or “Slumdog Millionaire” that he would eventually prove himself as an action star? “Monkey Man,” a revenge tale set in the corrupt underbelly of India, is an impressive outing from Patel, who not only stars in it but also serves as its writer and director. Filled with gorgeous visuals, inventive fight sequences, and a classic underdog story, some people will call “Monkey Man” an Indian “John Wick.” But as much as that is meant to be complimentary, it’s more than capable of standing on its own two feet as an original film — albeit one with its roots in Asian action cinema and Hindu spirituality.

Kid (Patel) spends his nights working as the Monkey Man in an underground fighting ring (hosted by a scene-stealing Sharlto Copley as the emcee), where he gets beaten up professionally on a semi-regular basis. But all this seems to be in pursuit of something grander, as he talks his way into a menial job at a shady nightclub, where he quickly goes from scrubbing pots and pans to waiting on the corrupt elite who patronize the establishment. Although he initially seems like just a scrappy go-getter trying to get ahead in life as best he can, it doesn’t take us long to realize that he’s actually on a mission of revenge, determined to punish the man who ruined his life as a child. With sheer bloody-mindedness, a few knives, and a monkey mask, Kid goes on a journey of divine retribution.

But fight scenes aren’t all “Monkey Man” has to offer. Dev Patel goes out of his way to give it a class consciousness that permeates the entire film, and you’ll be aware of it even if you haven’t brushed up on the current state of the Indian sociopolitical landscape. At its essence, this is the story of marginalized classes banding together, rising up, and confronting their oppressors. Patel’s Kid comes from a rural village that was demolished so that a factory could be built, and every time he shoots a street scene, he fills the frame with unhoused and poverty-stricken inhabitants of the city, making sure we never forget the class component of his character’s desire for revenge. When he is recovering from his injuries at one point in the film, he is rescued by a group of trans women who, having been ostracized by the larger community, serve as caretakers for an abandoned temple. They are his greatest allies, and they see in each other kindred spirits in oppression. The basic narrative of “Monkey Man” follows many of the traditional action film plot points, but what helps it to stand out — and gives it a deeper emotional resonance — is its commitment to highlighting those who live on the margins of a society that has largely abandoned them.

Patel deserves a lot of credit for what he’s able to accomplish in “Monkey Man” as a first-time director. Action movies often get written off as dumb or simplistic, but it takes a confident filmmaker to construct stylish fight sequences that evoke a visceral reaction from audiences. There’s nothing easy about making one feel fresh and exciting rather than simply echoing the beats of dozens of fights that have come before it. And “Monkey Man” doesn’t have just one great fight sequence — it’s got half a dozen that will get the adrenaline going. At any rate, props to Patel for getting this movie made in the first place; it shows a gutsy drive from him to create the kind of roles he wants to play rather than waiting for them to be offered to him. You can see his passion for the project all over the screen in “Monkey Man,” and it makes the production a much more satisfying viewing experience.

“Monkey Man” premieres in theaters on April 5.