Stories about art, artists and their struggle with society have been prevalent since time immemorial. From Pyaasa to Tamasha, Dead Poets Society to Whiplash and The King of Comedy to Udaan, these narratives have resonated deeply with the audience as they represent the flight of a common person beyond the standard limitations and restrictions put forth by the society and the following consequences. In these extreme yet poignant tales, the element of conflict highlights how each artist and their art is a byproduct of the environment they breathe in while focusing on both the immediate actions of the outer world and the innate brooding and vivacious feeling, which makes or breaks an artist.
There is a strange interplay often observed between reality and fiction in this particular exchange. The tragic failure of Kaagaz Ke Phool impacted Guru Dutt so deeply that he left directing movies altogether. Strangely, the film itself presented an unfortunate tale of a successful director who in pursuit of creating one of his most personal and memorable films goes on to deliver one of the biggest flops, which marked the end of his career. Today, Kaagaz Ke Phool is considered a monumental film in the history of Indian Cinema.
Every piece of art presents a part of reality that the artist is exposed to. Subsequently, each person is largely subjected to their own truth which becomes a point of reference and comparison as they head forward and interact with other members of society. No reality is absolute in nature, but it definitely does hinder an individual's understanding and perception of other people and their truth as most of us, intentionally or unintentionally, surrender to the ideas and beliefs of our eco-chamber.
This base difference further becomes the reason for larger conflicts in society when certain groups find it difficult to resonate with particular stories/ideas presented by artists. The emergence of contradictory viewpoints creates tension among groups where they feel threatened and consider it right to object to it in their own desired way. There is a long list of artists, including Emily Dickinson, Charles Bukowski and Vincent Van Gogh, who lived their entire lives in the shadow of unacceptance and are now considered legends in their respective fields. One such artist happens to be - “Amar Singh Chamkila”.
Famously Regarded as the "Elvis of Punjab", Amar Singh Chamkila was a Punjabi singer and musician, who was equally loved and hated by different sections of society. He rose to fame during the 1980s and went on to become the highest record-selling artist of his time. Starting his career with boyish songs like “Pehle Lalkare Naal” and “Takue Te Takua”, he sang devotional songs like "Baba Tera Nankana" and "Tar Gayi Ravidas Di Pathri" in the later part of his career after receiving many objections and death threats from certain communities. However, wherever he performed, the audience kept on requesting him to sing his raunchy songs, which he could not deny for a long time. Unfortunately, he was shot dead on 8 March 1988, along with his wife, Amarjot Singh, when they arrived to perform at Mehsampur, Punjab.
This story has been loosely passed down from one generation to another and largely stands forgotten. Its dichotomy makes this narrative an interesting one, especially for Imtiaz Ali who is celebrated for his coming-of-age stories but has had a bit of a rough patch with his projects in the last couple of years. Fortunately, the movie Amar Singh Chamkila, streaming on Netflix marks his beautiful return, where he again presents a story about an artist with much love and passion.
Imtiaz Ali brings forward the life of Chamkila in his signature storytelling style like Rockstar, where people closely associated with the protagonist tell different tales of the legend. The nonlinear structure of the screenplay crafted by Imitiaz and Sajid Ali helps us understand more about the man and his life beyond the ultimate tragedy. They caught me completely off-guard with the opening scene after which I just could not step back from the movie. It took me on a ride through the inner lanes and people of Punjab, captured stylistically by Sylvester Fonseca. The frames oozing with colours complement the joy associated with the land and its people, without ignoring the presence of red and violence.
While the film is a biography, it sheds light on themes which are universal and still relevant. This bridge between the past and the present has been tied interestingly with the use of animation graphics and old clips and pictures in the editing by Aarti Bajaj. It infuses such affection and free flow of the tale where the boundaries to creativity seem to be dissolved. There was so much happening on the screen with the colourful graphics and documentary clips that it was impossible for me to look away even for a second.
Along with the editing, the movie keeps the realism intact with the help of its actors leading the march. Diljit Dosanjh, as Amar Singh Chamkila, instils and conveys the spirit of an artist who only knows to perform for his audience regardless of what is right and wrong. The transition from a conflicted man into a passionate performer as he takes hold of the stage is embodied and portrayed by Diljit with precision. Parineeti Chopra as Amarjot Singh showcases an emotional performance being a strong support to Chamkila in his journey while also facing criticism on his behalf. From the supporting cast, Anjum Batra as Kesar Tikki, shares a great camaraderie with Diljit and Parineeti as their best friend and a member of the band.
In a movie about a music artist, it becomes quite necessary to express that devotion towards the art form with both performance and music album. The decision to make actors perform the songs of Amar Singh Chamkil and Amarjot and record their vocals live on location lends much authenticity to the movie. The songs and their translated subtitles on screen give the required insight into the lyrics for the audience to understand why it became such a point of debate. With that, the movie album composed by A. R. Rahman brings a third-person perspective to the life of Chamkila, which not only stitches different stages together but also ensures a smooth transition from one phase to another. The resounding compositions have been finely aided by the lyrics of Irshad Kamil. From expressing the innocence of love Amarjot craves from Chamkila in “Tu Kya Jaane” to reflecting the rise of Chamkila representing the entire state of Punjab in “Ishq Mitaye”, the journey concludes with the final melancholic notes of “Vida Karo” as Arijit Singh and Jonita Gandhi become the voice of Chamkila and requests everyone to let him free as he takes the blame of everything -
“मेरे सर पे सारी तोहमत तुम धर देना |
मैं तो मैं हूं, रूह भी मेरी पागल कर देना |
तुम खुश रहना, सब कुछ सहना, मुझको आता है |
टूटे तारे का धरती से कैसा नाता है?”
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