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Poster of the film Amar Singh Chamkila

Amar Singh Chamkila

Drama Music Hindi


A humble singer’s brash lyrics ignite fame and fury across Punjab as he grapples with soaring success and brutal criticism before his untimely death.

Cast:Diljit Dosanjh, Parineeti Chopra, Apindereep Singh, Anjum Batra, Rahul Mittra, Nisha Bano, Udaybir Sandhu, Tushar Dutt, Robbie Johal, Pavneet Singh, Anuraag Arora
Director:Imtiaz Ali
Writer:Imtiaz Ali, Sajid Ali
Editor:Aarti Bajaj
Camera:Sylvester Fonseca

All Guild Reviews of Amar Singh Chamkila

Image of scene from the film Amar Singh Chamkila

A disorderly protest

Fox in morning light

Akhil Arora | akhilarora.com

Fri, April 12 2024

Imtiaz Ali’s call for artistic freedom—and the price you must be willing to pay—doesn’t always have the power or focus it needs.

What is decency? And who gets to define it? In a country where taking offence and sentiments being hurt has morphed into a crutch and a pastime, the boundaries of what’s appropriate shrink every day. But this isn’t anything new. Intolerance has always been widespread—it’s now just easily disseminated. In the eighties, that’s how singer-songwriter Amar Singh Chamkila earned the moniker Elvis of Punjab. (A line in the movie takes it too far and calls him “the Elvis of Punjab, US, UK, and Canada”, which is funny on another level because, you know, Elvis is American.) It was given for his popularity, for shattering multiple sales records over his short life, but it applied to how society was enraged by the content of his lyrics. A sentiment that likely led to his assassination at the ripe age of 27.

Continue reading …

A Spotify Review

Fox in morning light

Akhil Arora | akhilarora.com

Fri, April 12 2024

Is Amar Singh Chamkila a long-awaited return to form for director Imtiaz Ali, or is it another let-down from the once-promising filmmaker? We discuss the film’s inventive approach to the music biopic genre, if not narratively then at least formally. We also talk about Diljit Dosanjh and Parineeti Chopra’s central performances as the slain husband-wife folk singer duo and address the ‘Hindi gaze’ that Ali brings to this inherently Punjabi tale. Along the way, we also discuss the nature of high and low art and the film’s many defences of Chamkila’s controversial music.

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