As 'Amar Singh Chamkila' continues to captivate audiences on Netflix since its April 12 release, emerging as one of the top trending movies on OTT platforms, viewers are drawn into the enthralling narrative of a musical legend.
Amidst the excitement surrounding the film, The Mooknayak presents a compelling exploration of the extraordinary life and journey of a Dalit laborer from Ludhiana factories.
His relentless dedication and boundless passion for music not only transformed his own destiny but also earned him the revered moniker, 'Elvis of Punjab'. Join us as we uncover the remarkable story behind the man who defied odds to become a cultural icon.
Amar Singh Chamkila didn't stumble into music by accident; it was his lifelong aspiration. In an era dominated by influential singers like Gurdas Mann, Chamkila rose to prominence, earning the revered title of the "Elvis of Punjab." What set Chamkila apart was his humble origins. Born into poverty in an impoverished Dalit family as Dhanni Ram, his formal education was limited to primary schooling. To support his family, he toiled as a laborer in a textile factory. Yet, amidst the clang of machinery, Chamkila's soul resonated with music.
Driven by an innate passion, Chamkila immersed himself in the world of melodies. Under the guidance of Surinder Shinda, a celebrated folk singer, he honed his craft, gradually transitioning from apprentice to performer. Embracing the stage under the moniker Amar Singh Chamkila, he became a voice for the masses. His songs, delving into taboo subjects like drug abuse, domestic violence, and extramarital affairs, struck a chord with listeners, reflecting the harsh realities of society. Chamkila's music wasn't just entertainment; it was a mirror reflecting the raw emotions and struggles of the common people.
Imtiaz's film traces Amar’s meteoric rise from knitting socks to an entertainer of the masses. Together with his brother Sajid Ali as a co-writer, Imtiaz acknowledges the challenges that a Dalit individual faces in broad strokes.
"Chamar hoon bhookha nahi marunga" (I may be a Chamar, I won’t starve to death), says a resolute Chamkila after being affronted about his caste. Although this is the only mention of his caste, the script steers clear of bringing the element of caste conflict into the scene even when Chamkila marries Amarjot, a Jat by caste, or even when he is threatened by hardcore militants.
The art directors have taken assiduous attention to detail while bringing the Punjab of the 70s and 80s on the screen. The mud-house of the protagonist not only emphasizes the humble beginning of the star but also highlights the fact that the green revolution failed to benefit the Dalit community in the state.
It was the environment of his surroundings that shaped up the singer-composer as his songs carried a ribald tone. "This is what the people want," says Chamkila in the film, justifying the "offensive nature" of his songs.
Parineeti, in her portrayal of Amarjot, perfectly carries the charm as the co-singer of Chamkila. Mouthing supposedly filthy songs in traditional dress speaks volumes about the chasm between freedom and modernity, and therefore, the protagonist averts his eyes when he encounters a jeans-clad female journalist, who came to interview him.
The journalist is also bewildered at this irony as she says, “Amar Singh Chamkila, a singer who sings filthy songs is having a problem with my pant(s).” Chamkila reasons that he has not seen a girl in pants but has been a witness to all the vulgarity in his life.
The singer is made answerable inordinately for his “sexually explicit” songs; a death threat that he receives from the hardliners signals the breach of normative horizons to an unacceptable degree… Or is it so? Was Chamkila the only one who sang such songs? His popularity soars as the state is gripped by insurgency in 1984 as he is told that the pulse of his business is that people crave for more entertainment in the times of crisis and surrounded by danger, they don’t want to listen to sad songs, looking for an escape for a few moments.
Imtiaz brilliantly juxtaposes the contemporary situation of Punjab, where people groove to Amar Singh Chamkila’s Thumbi (musical instrument), even as their state is engulfed by the fire of violence. His use of original footage to drive home the message is remarkable; however, discerning eyes would note that footage of the 1967 violence in Delhi has been misrepresented as that of 1984.
The song "Main hoon Punjab" (I am Punjab) vividly portrays the sync of the people with the singer's tunes, earning him the moniker of Elvis of Punjab through songs that defy societal moral constructs. Another testament to his popularity is the scene where the organizers of his event in Canada inform him that his stage shows have outsold those of Amitabh Bachchan, the mega-star of the Hindi film industry.
The film depicts the "Elvis of Punjab" briefly succumbing to the intimidation of the “Moral Police” by churning out devotional numbers such as “Baba Tera Nankana” but then reverting to his original form at the demand of his adamant audience. However, Chamkila refuses to be bogged down by renewed browbeating; he questions why he was singled out when there were other singers more vulgar than him. While the answer possibly lies in the sociological relation of vulnerability and impunity between the oppressed and the oppressor caste, the director avoids delving into caste dynamics, attributing it instead to rival musicians.
As the film heads into the climax, the titular character emerges as a resolute man unperturbed by threats or intimidation. Amarjot stands firmly by his side, shedding all fear. Both of them are tragically gunned down in Mehsampur of Jalandhar district of Punjab, along with two of their troupe members. Ali meticulously transports audiences to Chamkila's era, with the gruesome murder scene shot at the exact location where the fatal gunshots were heard 36 years ago in 1988.
The film exonerates Chamkila from the charge of depraving society, as several women confess to listening to his songs and young girls dance to his numbers, highlighting the dichotomy between societal norms and basic human instincts. This phenomenon is further highlighted in the scene where DSP Balbir Singh (Anuraag Arora), who had earlier dismissed the singer's songs, reveals his secret fan following by producing a cassette of Chamkila stashed away in his jeep. Anjum Batra, portraying Kesar Singh Tikki, a trusted aide of Chamkila, shines among the supporting actors with his portrayal of love for his friend beneath a veneer of jealousy. Unfortunately, Tikki passed away in January this year, months before the OTT release of the film. Another character portrayed in the biopic is Surinder Shinda (named Jatinder Jinda) and Dhakkan. Surinder Shinda passed away in July 2023. Chamkila stands as a prime example of deft filmmaking, despite criticisms regarding the handling of caste issues.
"Mehsampur" (2018) was an ethno-fiction drama centered around the killing of the singer. Lal Chand, the Dholak player who managed to escape the murderous attack, takes on the role of the protagonist in the film. Interestingly, the character of Lal Chand has been omitted from the biopic crafted by Imtiaz Ali.
The Mooknayak had the opportunity to speak with Kabir Singh Chowdhary, the director of "Mehsampur," who shared insights into his creative process. Chowdhary expressed his intention to preserve history not through mere documentation, but by infusing reality with fiction.
Having previously worked with Dharma Productions, Chowdhary is deeply rooted in research and claimed to have encountered one of Chamkila's killers who is still alive. "I find research to be an intriguing process, often uncovering hidden gems by connecting the dots," Kabir remarked. He further revealed that his upcoming script delves into the lives of Chamkila's assailants, shedding light on their motivations and actions.
“I would listen to his music while driving at night; his music had the verve which ensured that the drivers didn’t doze off midway while driving,” says Kulwant Singh, a trader based in the UK, who drove trucks across Punjab and Himachal in the 80s before moving to the UK with his family 20 years ago. He fondly remembers meeting Chamkila.
“I think it was in 1986-87 when I met him in a village in Amritsar after watching his performance. Those days, television had not penetrated the homes of the people on a large scale, and the Tape Recorder remained the primary source of entertainment. We had no idea how Chamkila looked; I went to watch the film Patola in Chandigarh with my friend to see how Amar and Amarjot looked,” says Ajit Bhatia, who was a college student in 1987-88 when the film was released.
It was Chamkila's only appearance in a film as he was gunned down a few days after the film's release.
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