Born Dhani Ram in a Punjabi Dalit Sikh household, singer Amar Singh Chamkila rose to prominence in the 1980s with his gritty musical style and taunting lyrics. His ground-breaking compositions were equally aware of rural class discontent in the working North as they were fixated on incest and illicit love. He was shot and killed in Mehsampur on March 8, 1988, while getting out of his automobile for a performance by unidentified gunmen. Along with him were two other members of his troupe and his wife, Amarjot, who was also his singing partner. There were several explanations put out, but the case remained unresolved since the state was being overrun by a violent insurrection.
Chamkila: Imtiaz Ali’s Vision
This eerie incident from Punjab’s troubled past has previously been used as material for films, most notably in the innovative absurdist docu-fiction Mehsampur (2018), directed by Kabir Singh Chowdhry. Now, Imtiaz Ali attempts to tackle Chamkila, co-writing with his brother, Sajid. Fans who are already familiar with the basic details of the singer’s life and passing, along with many rumors, won’t be convinced again. In Ali’s film, no mysteries are solved and no ghosts are banished. This interpretation of the Chamkila story is somewhat simple and more of a vivacious celebration than a thorough analysis. It does, however, manage to provide a glimpse into the artist’s innermost thoughts despite its squareness.
Since Chamkila has always been a devoted follower of Bachchan, we anticipate that he will be happy about this accomplishment. Rather, his smile dissipates like mist in the morning. His blues are not really explained; instead, a narrator remarks acerbicly that artists are peculiar people and that Chamkila’s despair seemed like a loss as if his youth had abruptly gone.
Even though it is entirely fictional, this scene—lost in the chaos and cacophony of Chamkila’s remarkable life—is the best in Ali’s film. Rather than providing answers on the deceased Punjabi singer, who has become an extreme hero in the media, it poses a mild query: to what extent was Chamkila, who was improbably dubbed the “Elvis of Punjab,” at ease with his swift ascent to fame?
The Plot Unfolds
After beginning with the tragic assassination, Ali jumbles together infancy and death, action and aftermath, and hearsay and fact in his story. Superimpositions appear colors and forms shift throughout the visuals, and the melancholic soundtrack starts to pulse. With spoken lyrics, the wailing “Baaja” reaches an enraged crescendo that sounds like a cross between protest street theater and Broadway. Aarti Bajaj, the editor, created swirling structural designs for Rockstar (2011), and the grainy dream scenes in Tamasha (2015), which are reminiscent of this start’s carousel spin.
After this dramatic introduction, a largely subdued summary of Chamkila’s life and times follows. An average mill worker, he writes lyrics for the folk sensation Jinda (modeled after Punjabi singer Surinder Shinda) and brings him tea after charming his way into his orbit. An opportunity to perform for a furious akhada reveals his vocal prowess. He gains popularity by crooning upbeat duets, but he quickly runs out of supporters and a partner. Most people get tired of his high-pitched delivery and constant appointments, but Amarjot (Parineeti Chopra), who is tickled pink by his lewd rhymes, manages to stick around. They tie the knot.
The Soul-Stirring Melodies Of Chamkila
As one might anticipate from a filmmaker of his (mostly romantic) type, Ali tears through the grim social milieu of 1980s Punjab. The pulsating original soundtrack by A.R. Rahman or the vibrant 2-D animation segments contributes to the continuous softening of the tone and mood. ‘Naram Kaalja’ is a beautifully drawn women’s folk number, with lyricist Irshad Kamil having fun with the jittery imagery, riffing about “small sickles” and “snakes around thighs.” ‘Ishq Mitaye’ is painful but wonderful, with its echoing refrain of ‘Main hoon Panjab’. Though cognizant of cultural standards in its chosen time, this isn’t a particularly offensive film, despite Chamkila’s aggressive reputation.
The Heart And Soul Of Chamkila: Diljit Dosanjh
In the Punjabi film Jodi (2023), Diljit Dosanjh portrayed a surrogate Chamkila. Ali’s film uses live recordings of Chamkila’s original songs; thus, his vocal skills come in handy. Here, he presents Chamkila as a kind dreamer who is confident and upbeat. The act may be too innocent; there’s something strangely wrong with Chamkila’s endearing slouching and the piercing fire we sometimes catch glimpses of in her eyes in old pictures. In a small role, Chopra perseveres, and the supporting cast features a few noteworthy female characters, including a reimagining of Aditi Rao Hydari’s parasite journalist from Rockstar.
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