In Imtiaz Ali’s latest Amar Singh Chamkila featuring Diljit Dosanjh and Parineeti Chopra in lead roles now streaming on Netflix, the actor says not everyone can afford to differentiate between right and wrong. This moment comes much later in the narrative, but for me, it was the movie’s highlight and something that made the film stand out in the genre of biopics. The streaming platform describes the movie as the story of singer Amar Singh Chamkila navigating fame, romance and outrage in the musical drama panning from his humble childhood to his chart-topping success. Filmmaker Imtiaz Ali uses the life story of this singer to make a crucial point as far as art and artists are concerned.
Amar Singh Chamkila moved me by the way it made me think and the direction in which it made me think. Chamkila was criticised for his song’s lyrics. While many found them obscene, many more enjoyed them to the extent of making him a famous artist with successful records to his name. At first, the movie shows Chamkila’s songs are enjoyed only by men and women feeling disgusted by the songs. Later in the film, we see an old lady telling other women around her how she listens to his songs discreetly and even enjoys them. The old lady also tells the women how the nature of his songs/lyrics isn’t different from songs sung during weddings in their community/town.
I remember a friend of mine telling me how such songs with erotic lyrics shouldn’t be problematic as their purpose and the place where they are played and enjoyed make sense. Such songs have probably existed in every language, religion and culture of many countries across the globe. Amar Singh Chamkila urges us to question the self-proclaimed protectors of religion and culture. They might have no idea where an artist gets inspiration for art, and just because it doesn’t fit in their opinions, does it make that art any wrong or bad? Chamkila feels that an artist will continue to make art, as it is their job, and people will continue to get offended by that art, as, unfortunately, getting offended and reacting bizarrely to it is their job. Sadly, the world will never learn to live in peace.
Amar Singh Chamkila also made me think about many other things. I was amazed to look at the body language of Amar Singh Chamkila and Amarjot Kaur while performing the songs/singing the obscene lyrics. Their clear intent to entertain and perform their art without any malign thoughts (that people presume) while doing so makes them look like inspiring artists and respectable people. Amar Singh Chamkila’s reaction to death threats makes us introspect about the world just like him. When he is interviewed by a woman wearing jeans, his reaction to her Western/modern dress leads to her criticising his thought process as far as his art is concerned. This scene left me in a pensive mode. I fear calling Amar Singh Chamkila a hypocrite here after being fully aware of his naivety. This moment is a wonderful lesson on human behaviour or the human psyche.
Amar Singh Chamkila also made me ponder about how, in general, artists think unconventionally. There is a scene in the film where Chamkila is told by the venue authority that his show has garnered a better response than what living legend Amitabh Bachcan’s show garnered at the same venue. Chamkila makes us think about the weird thoughts of artists in such moments. I couldn’t stop thinking when we see how servile some artists are towards their audience even after being successful and having some kind of power in some capacity. Oppression and discrimination faced by Chamkila based on caste are touched upon lightly. We are also told what price success comes at. Chamkila starting to sing devotional songs to save himself looks predictable. His wedding with Amarjot, treated as a small conflict in the narrative, doesn’t come across as exciting, but how a part of his life in this regard is revealed spices up things in some manner.
Imtiaz Ali’s vision/treatment/execution of Amar Singh Chamkila is some sort of a delicacy. The shocking start of the film is followed by surprises till the end. The song Baaja used for Amar Singh Chammkila’s introduction gave me a different kind of thrill. It couldn’t get any better. It set my mood for the rest of the film. The non-linear narrative structure, selective animation, dividing the screen and showing two different time frames in both of them yet forming that requisite connection at that moment and displaying lyrics in English by highlighting the main words as songs are sung in Panjabi – all contribute wonderfully to ensuring a worthy viewing experience. Also, who else (other than) Imtiaz Ali, can think of playing cheerful music in the background with the visual of dead bodies?
Maestro A.R. Rahman made the 90s kid in me very happy. Not that his compositions in Amar Singh Chamkila sound like that, but hearing Mohit Chauhan sing his songs hit our hearts differently. Bol Mohabbat, in the composer’s voice, is a perfectly rousing track. Tu Kya Jaane is that soothing romantic number that takes you in a trance. I will remember Naram Kaalja for two reasons. One is Alka Yagnik’s voice and the conviction in the double-meaning lyrics that don’t make us uncomfortable. Only a thoughtful composition can make such a song sound fun. When it comes to lyrics in this album, Irshad Kamil reached unimaginable heights with Vida Karo. While I adore Arijit Singh and Jonita Gandhi even more, the lyrics did wonders for me in this song. All the old Panjabi songs, originally sung by Amar Singh Chamkila and Amarjot Kaur, sung in the film by Diljit Dosanjh and Parineeti Chopra, make the musical touch of the film feel like magic. It gives that raw, rustic and rooted feel to this musical drama.
The way I saw Panjab in Amar Singh Chamkila may not be anything like never seen before, but it surely is something that the film deserved. Locations (including interiors) gave me a sense of belonging. The costumes grabbed my attention instantly. The production design transported me back in time. One thing that gave a modern touch to the visuals was the camera work. I wondered the thought behind the bright light in the background in so many scenes. The lens is experimented with in a few scenes because the background becomes blurred, focusing on the main character. I believe this approach towards the visuals was a way to highlight the powerful performances in the film.
Parineeti Chopra is outstanding in the movie. The way she hid Parineeti Chopra to show us Amarjot Kaur is commendable. The only thing that I would like to say about her act is that, just watch her to believe what a powerhouse of talent this woman is. Diljit Dosanjh pretty much made me forget that I am watching a biopic or he is playing a fictional character. If given a chance, I will always choose Diljit – the actor, over Diljit – the singer/composer. The ease with which he made me feel the character’s every emotion (sometimes without the typical expressions) makes this man a great actor. I am not exaggerating when I say both these actors brought the dead people to life through their performances. The film shows images and video footage (sometimes) of real Chamkila and Amarjot. Those aren’t an indication of what a strong reference the actors had, but they show how hard the actors have worked to get their performances right.
Amar Singh Chamkila is one of the rare films that gets it all right. It’s that heartbreaking story of an artist who not just lived on his own terms but also died like that. It’s the film that celebrates and mourns together, looks conscious and spontaneous (at the same time) and balances feeling pensive and perky. This one goes beyond just paying tribute in the form of the motion picture to people on whom it is based and works well as an excellent, engaging and entertaining piece of art that deserves to be applauded, appreciated and celebrated. Thank You – Imtiaz Ali, Thank You – A.R. Rahman, Thank You – Diljit Dosanjh, and Thank You – everyone associated with Amar Singh Chamkila for this amazing experience.
meri maaa, CINEMAAA 