This is an unprecedented style of filmmaking in the Indian Cinema and, definitely, a work brimming with brilliance.
(Thanks to Jagran Film Festival Delhi 2019 for the screening of this gem of a film)
In this film, death is imminent. And it doesn’t befall characters because of natural causes. It’s because the actions of the characters do not get approval by the masses. They do keep going for a while with little support. But, eventually, they succumb to a tragic end. Director Kabir Singh Chowdhry’s Mehsampur intends to explore the life of a Punjabi singer named Amar Singh Chamkila through Devrath (Devrath Joshi) and trace the events that resulted in the assassination of Chamkila.
Chamkila had more haters than supporters for the controversies he gave rise to. It was in Mehsampur where he breathed last. It is the enigma surrounding his death that propels Devrath, who is a filmmaker, to traverse difficult terrain and find everything about Chamkila at all costs to make a film on him. As Devrath goes about his business, you keep your options open and keep pondering over if the film is a documentary or a docu-fiction as it never settles on to one. This transition which Kabir lends to this drama is something that you really have to experience yourself. This is an unprecedented style of filmmaking in the Indian Cinema and, definitely, a work brimming with brilliance.
The film gives you a psychedelic experience. You randomly get to see flashes of old, blurred, muted videos of Chamkila performing on a stage. Sometimes, it looks like the camera was being vigorously shaken while a few of the scenes were being shot. There are noisy, eerie visuals of a combine harvester moving through a field of crops (When this combine harvester appears again towards the end, it’s astonishing to realise the significance of this seemingly-irrelevant-noisy-shot-at-first). There’s a guy singing at a bar and, weirdly enough, as he tries to express his emotions through the song, you can’t help but think if he’s drugged.
The interviews that Devrath conducts with people who knew Chamkila were not short of sidesplitting comedy instances. You see Devrath asking a guy to repetitively act like a drunkard throwing a stone in a busy street. You see him getting annoyed by a singer as she, instead of telling him anything about Chamkila, starts singing a song instead. Devrath, also, doesn’t stop from recording everything when he has got an opportunity to interview someone. So, when he interviews Lal Chand (a guy who survived and escaped from Chamkila’s assassination scene), he can’t help but take a close-shot of Lal Chand’s inner thigh on his camcorder from the ground level.
Only thing that didn’t work for me was the character arc of Manpreet (Navjot Randhawa) with whom Devrath has had a sexual relationship. But the praise must be given to the scene where intercourse happens between the two which was so realistically and perfectly shot arousing the sexual feelings inside you.
Even though this Manpreet’s character plays a bit of a spoilsport at the later stages of the movie, Director Kabir’s extraordinary filmmaking skills come to the fore and mostly overpower the dampness created by that character. Mehsampur is a change that you need amidst the swarm of poorly executed, mundane big-budget films. It’s the never-before-seen thingy. Kabir makes sure that you have one more example at hand to show the world why movies are one of the greatest forms of art.