Interview with Vikram

Many expected you to get the National award for Sethu, as you were a powerful actor re-emerging at that time. But you have got it for Pithamagan. You are also a star with blockbusters like Dhill, Gemini, Saamy and Dhool. Are you happy in some way that you got it now not then?

Even now I would have felt very happy if I had got it for Sethu, because I hold that film very close to my heart. It gave me the break. It was the film where I gave my heart and soul. I fell in love with that character. It was so beautiful. Even if the film had not done what it did for me, I would have felt very close to it. It put me on the right path. Director Bala brought out the actor in me. Because of him, I started experimenting with different characters. I started doing roles I loved doing. This is why I attach Chiyaan to my name [Vikram's autograph is Chiyaan Vikram].

As Chittan in Pithamagan

Could you say something about Chittan - the gravedigger character in Pithamagan? How exactly did Bala conceive of that character? What kind of homework did you do?

Chiyaan in Sethu.

Basically, it was about two people. One of them is too serious; the other chap is jovial. Chittan is always moody; he is an outcast. That is how we started. Then we did that scene where he brushes his teeth, where he makes the face of the skull... , we realised that he has a comic side to him. We started working on that, and then we found that it added a lot of commercialism to the film as such. We worked on the scenes. We started off with the climax. We decided that it had to be a very shocking scene. We worked backwards. Then we started getting scenes. Bala always starts with a character. We had a strong character. He had woven the story around him. He added other characters. It was more like a theatre workshop.

Do you mean to say that the script evolved as you were making the film?

Bala always has his script in his mind. The basic script is there. He does not have the written script. Bala does everything extempore. When we go there, he writes his dialogue. It is real dialogues; that is how people talk in real life. He uses the dialogue that the scene demands. It is more of performance. If you notice there are few wide shots. Most of them are tight, because he is getting the artists' reaction. And the other thing you find is that everybody in the frame is acting - acting well. Most of the people we picked up were from villages. We suddenly come across an interesting old woman and we use her. She would not even look at her husband; she was so shy. We make her sit in front of the camera ! That is his art.

Despite the appreciation for your powerful portrayal of Chittan in Pithamagan, there was criticism that the character was a little abnormal, not convincing enough...

People say a gravedigger won't be like that. We are not talking about the gravedigger who was like that. He could have been anyone. He could have been a farmer; he could have been a beggar. He is just isolated, he is like that. I trusted Bala on that; because he is someone who shuns anything artificial. We knew this was going overboard a bit, because there has never been a character like that. But we felt that we could really stick to it and really underplay the character, which will appeal to the jury, which will appeal to the critic and also the film will be spoken about and commercially viable. It is a very thin line. You have to expect criticism for that. We did not have someone to inspire us. Normally, I have a reference, I will always have, say, a friend as reference. I will mimic his walk, the way he talks. Here I did not have anybody. This is how he lives. To an extent, after some time Bala stopped telling me what to do. He would direct others, and would tell me, "you are in the scene and you know what to do." He did not have to tell me, I got into the character. It took a long time, almost ten days, to get into the character.

Chiyaan in Sethu, Kaasi in Kaasi and Chittan in Pithamagan - when you look back now how do you compare these three characters?

You won't believe it. When I shoot in remote villages, some old woman would come up and say, "you are the one who acted in Kaasi. You are Kaasi. You were amazing." I would ask her about Dhool or Saamy. She would say, "I don't know all that, you are Kaasi, you do Kaasi-like roles." Old timers, Sivaji fans, liked Kaasi. You see, it is that school of acting. Pithamagan and Sethu were very nice, both are Bala's films, they were different characters.

Your dedication and hard work were clearly visible in Sethu. Today if a new director comes to you with a powerful script, which may not be for a big budget film but may bring out another dimension of you as an actor, will you accept that project? Or will you go only for mega budget films and established directors?

Yes. If he [the new director] can prove that he is technically qualified. If another Bala comes up, I will be able to spot him.

Can you?

Bala, when he first came and told me Sethu, it was very funny. I had done films in Tamil, Malayalam and Telugu. I thought it was another film. The moment he told me the script, I sat up. I said, "God! this guy is different". The moment he kept the first shot I knew that he is going to be one of the most spoken-about directors. Bala is always a very confident person. I was a parrot in Sethu, whatever he said I did. I am sure when another Bala comes I will be able to spot him.

Despite the huge success of films like Sethu and Autograph, directors like Cheran, and Bala do not become trendsetters; the general trend in Tamil cinema still is hero-based, same chasings, same irrational fight sequences and noise, plastic duet songs in foreign locations...

No. They are trendsetters. Sethu is a trendsetter. Not many people can follow it. The problem with Autograph is, it is a once in a lifetime film, and even Cheran cannot repeat it. Sethu was a trendsetter; in the sense that it was realistic in terms of dialogue. When Sethu came out, one producer told me 13 films flopped because of it. All those 13 films were typically commercial. People suddenly sat up and said this is what really a movie should be. The real trendsetters were Sridhar, Mahendran, Maniratnam and Balu Mahendra; now it is Bala, Cheran... It is really difficult. Other directors have to be that good.

In such a situation, where do you place yourself?

Sethu has changed me. It has brought out the actor in me. I always loved acting. So, I started doing films that are commercial but realistic; or commercial films where I will be realistic. In Gemini also, my performance would be realistic. Saamy was a commercial film, but I made myself look like a real cop. For Dhill, I built my body. I was very lean and I had a small waist. All these guys who want to be cops will be small waisted, their shirts neatly tucked in. But you will never see a real cop like that. For Saamy, though I built my body, my waist is thick. Whatever character I play, I look that. I try to see that I am not seen in that character, I try to see none of my other characters is seen in that character.

In Sethu, I made sure Kamal [Kamal Hassan] sir did not come in. In Sethu, when I do something, Bala would say, "No, he is seen there." In the climax we were so particular, it should not resemble Moondram Pirai Kamal Hassan at all. Bala said, "You should become the prototype." I was very particular, then I pushed him [Kamal] out, after that he was not in my mind anymore. After Sethu my problem was, I should not get Sethu inside. He was too stubborn in my mind. Now I am very confident, I can really change. That is what I really try to do in my little way.

Generally actors become stars in their first innings or phase out. But you are unique among Tamil film stars, because you have become a star in your second innings. What do you call it? Luck? Or hard work, confidence and perseverance?

I think it is more determination. You see in the last stage why I was giving up was because of Sethu. I was working, I was comfortable in my lifestyle. When I met my wife for the first time I could not walk, I was on crutches. I asked her what she was doing. She said, "I am a psychologist." She asked me what I was doing. I said, "At the moment nothing, but I am going to become a famous actor." She told me much later, "I thought that was the most foolish thing you could have said." I was determined to do it. When Sethu happened, Bala said, "don't do any other film, because we have to concentrate." I myself was feeling I shouldn't do any other film. I thought it should get over in three months. But it became two years. He said, "don't do any other language also". Then it became a little tough. At that time, I put everything into the film and it didn't work, as there were no takers. I thought, I better leave. If Sethu had not happened, I would have been still slogging. It is not luck. Luck is there in the sense you have to be there at the right place at the right time. Maybe Bala should have come two years after I began my film career. He came after ten years. Maybe another Bala would have come, if this Bala had not come.

Could you say something about your background?

I was studying in a boarding school. It helped me in a way, because we had everything there. That made me a kind of all-rounder. That time I was already into acting, around standard VIII, I decided to become an actor. Before it happened, I was doing fairly well in my studies, though I was a dreamer. I used to be in the first five ranks. After that decision, I would get only the last five ranks, because I was thinking only about acting, and about movies. I have been very focussed. I was really like a mad guy. To the extent, when we passed out we had autographs signed on our shirts: "See you Sylvester Stallone', `see you on the silver screen some time', `When are you going to become an actor?' `When are you going to get the national award?' I was like a monomaniac; And then I came into college; I was into plays. I did ads; I planned my career. After Sethu, there were lots of serials, though I was economically weak at that time, I didn't take up anything. Because I knew once I take up serials I will be kicked out of movies. Let me concentrate and do it. Even now that is what I do. I take time over production, I do only one film at a time.

Great actors were always born out of their associations with great directors - Robert De Niro with Martin Scorsese, Marcello Mastroianni with Federico Fellini, Soumitro Chatterjee with Satyajit Ray, Jack Nicholson with Milos Foreman, Marlon Brando with Elia Kazan and many others. Do you think Indian cinema particularly Tamil cinema, does not have master directors for great actors to emerge?

Yes. Nobody has gone on the actor's route; they all have gone on the star route. When you go on that you do not concentrate on performance, you concentrate on image. Rajnikant sir has always gone with K.S. Ravikumar. I am very comfortable with directors like Bala and Dharani. Though they are two different genres, I am equally comfortable with them. We have a good vibe. Dharani was my classmate. Bala and I are more into films, we speak a lot about characters. We can sit for hours and discuss some movie or other. That bond will come only when you have a performance-oriented role and have the director-actor combo.

Who are the actors you admire in Indian and international cinema?

I am a big fan of Rajni sir. He is a class by himself. If there are hundred people in a frame and if he is there, you don't watch anyone but him, that takes a lot of doing, I don't think anybody else can do it. May be Amitabh is, he is in his own way. Of course, I am always a fan of Kamal sir. Of late, I have become a big fan of Bomman Irani. He was great in Munnabhai. I like Manoj Bajpai a lot. At the international level, it would be Robert De Niro, Al Pacino and, of course, Merryl Streep.

What are the methods you follow in your career?

I am basically a director's actor. Nobody can rise above the bad script. I need a good director. I need a good character. Once that is there, I always leave the decision to the director. I am confident about my performance. The homework I do is to look different in every role. Apart from the framework for the character that I discuss with the director, I concentrate on Nadai, Udai, Bhavanai (walk, looks and expressions). It is very subtle, I work on that. When I go to the gym, I try a different type of walk. Then I work with the director on my suggestions. Most of the time directors are very happy with the homework I have done. It is not just makeup every time; Losing weight, putting on weight, even that many people are not doing it. That does not make much difference. Finally, it is all the director's work.

It is said today that stars especially male stars rule the film industry? Don't you think directors should rule the industry for more good films to come?

Only recently it started happening. People started noticing directors. They always have been behind the screen. Bharati Raja was one of the first directors who people could recognise on the street. Now Bala is like that. To the extent that now when a director's name comes in the credits, people clap. They did it for Ilayaraja, they did it for A.R. Rahman. Now, they are doing it for the directors.

How young are you?

I don't know. You are only as young as you think you are (laughs). I know it is a bad answer (laughs again).

Vikram, the Man......

The trend of actors who are also stars winning national awards marks the disappearance of the clear division between the so-called art cinema and commercial cinema. A decade ago, national awards mostly went to artists who acted in `art' or `parallel' cinema. In the changed situation, popular artists and stars are national award winners often. In Malayalam cinema, popular stars such as Mammotty, Mohanlal and Suresh Gopi have bagged national awards.

In Tamil cinema the only two stars who received national awards were Kamal Hassan and MGR (M.G. Ramachandran). Surprisingly, the late Sivaji Ganesan never got it.

The winner of this year's national award is Vikram for his role as a gravedigger in the Tamil film Pithamagan. His winning the honour is unique in many ways. Prior to this, he won the Filmfare award for the same role. For more than a decade, he has been an actor in Tamil, Malayalam and Telugu films. His debut as a protagonist was way back in 1989 in the Tamil film, Meera directed by P.C. Sriram. He continued to do running characters in Tamil, Malayalam and Telugu films. Many of his co-actors became big actors and stars. He did not lose heart because he did not want to phase out. He was determined to stay and prove himself one day. During that tough decade he went for dancing classes every day, he tried acting out different scenes, different characters with his small group of friends.

Four years ago, director Bala offered him the role of "Chiyaan" in the film Sethu. It was also Bala's debut film. Vikram shaved his head, thinned down to half his size, grew nails for the role. He did not accept any other offers during this period in order to maintain the continuity of his looks. His hope was that the project would be over in three months. But the film took two full years for completion. That was the worst phase of his career. He was weak economically, and his fire was in danger of dying down. For a moment, he even thought of giving up everything. But a few days after Sethu was released, life changed for Vikram. The film caught on. People mobbed him wherever he went. He was Chiyaan, for them. Many, including Vikram, expected the national award for this role in Sethu. But Vikram lost it by a single vote.

It is again director Bala who offered him the "Chittan" role in Pithamagan. Chittan is an uncivilised gravedigger who does not utter a single word in the entire film. Vikram coloured his hair, discoloured his teeth and did a lot of homework for the character. This time he did not miss the award.

In between Sethu and Pithamagan he acted in nine Tamil films many of which became super hits. Dhill, Gemini, Dhool and Saamy made him a super star in the Tamil film industry. Now he is acting in Anniyan - a mega budget film by Shankar. Vikram's principle and practice is to do only one film at a time.

Padmarajan.....the genius

P.Padmarajan.....A name which will remain quoted in golden lettere...The man who changed the boring style of malayalam film Industry. Starting from the very first movie, we can see the gitterance of a genius in him......

One of the speciality in him is his way of naming the films....look at some....'vadakakkoru Hridayam', 'Nombarathippovu', 'namukku Parkkan Munthirithoppukal','Njan Gandharvan' and many more......

His way of direction is really awsome.......his movies can easily be identified without titles.....because of his unique touch in his films...... who can forget the touching films like 'Thoovanathumbikal','namukku Parkkan Munthirithoppukal' 'Njan Gandharva' etc.


Padmarajan lied rain very much....I heard it in one of his interviews that he used to sit in the terrace on a chair, looking the rain........In his film 'Thoovanathumbikal' also rain is a major character. When Mohanlal met Sumalatha, there was always rain.....

Padmarajan worked as an announcer at AIR and had already authored 15 novels before he entered cinema by writing script for Bharathan's Pranamam. Considered as one among the second generation modernist writers, his works as a novelist dealt with anarchist ideologies, about marginalised people and sexual jealousy.

Padmarajan played a key role in bringing back Malayalam popular cinema back to common man, by telling stories of ordinary people and ordinary events. He established his position as a leading advocate of the middle path cinema with his very first film, Peruvazhiyambalam (1979). His second film Oridathoru Phayalvan (1981) won several awards including international awards. He maintained consistency in quality of films and remained popular among the mass during his film career.

Selected Filmography:

Peruvazhiyambalam - 1979
(Wayside Inn)

Padmarajan's first film as a director, Peruvazhiyambalam was a milestone in Malayalam cinema history.

Raman a simple boy lives with his sister in a village. Prabhakaran Pillai, the villainous rapist coverts the sister and persecutes Raman, who alone stands up to the bully and kills him in a fight. A teashop owner and a prostitute help him to hide form the police. Raman replaces the villain as the idol for hero worship, for his macho qualities. He is struck with remorse when faced by the children of the man he killed.

Direction & Screenplay: Padmarajan
Cast: Ashokan, Gopi, Aziz, Jose Prakash, Lalitha
Cinematography: A Kannan Narayanan
Music: M G Radhakrishnan

Oridathoru Phayalwan - 1981
(There Lived a Wrestler)

Oridathoru Phayalwan is folk parable about the success and failure in the life of a wrestler.

Patronised by a village tailor, the wrestler becomes a local hero when he overcomes all his opponents and claims the prettiest woman as his wife. However, his muscular prowess is offset by sexual impotency and he has to leave the village.

Oridathoru Phayalwan won Padmarajan the Gold Medal at the Asian Film Festival.

Direction & Screenplay: Padmarajan
Cast: Rashid, Jayanthi, Nedumudi Venu
Cinematography: Vipin Das
Music: Johnson

Koodevide? - 1983
(In Search of a Nest)

Alice, who lives with her brother, is a teacher at a convent school in Ooty. A neglected and unruly son of a MP, Xavier Puthooran joins the school in Alice's class. Alice manages to turn him into a prize student. Her boy friend Capt. Thomas feels intensely jealous of the attention Alice bestows upon Ravi. He kills the boy apparently by accident but later surrenders to the police, leaving Alice frustrated in all aspects of her life.

Koodevide? won several State awards and also was selected to Indian Panorama.

Direction & Screenplay: Padmarajan
Cast: Mammootty, Sushasini, Rehman, Jose Prakash, Sukumari
Cinematography: Shaji N Karun
Music: Johnson

Thinkalazcha Nalla Divasam - 1985
(Monday, the Good Day)

A family in its spacious ancestral house to celebrate their lonely mother's 60th Birthday. Jalousies and rivalries erupt focusing on who will inherit the house. The mother is placed in an old age home and latter she dies there, leaving the next generation guilty ridden, but their children nevertheless appreciate living in the big house.

Direction & Screenplay: Padmarajan
Cast: Mammootty, Kaviyoor Ponnamma, Karamana Jhanardhanan Nair
Cinematography: Vasant Kumar
Music: Shyam

Namukku Parkan Munthiri Thoppukal - 1986
(Vineyards to Live)

A tragic love story, Namukku Parkan Munthiri Thoppukal is set in the Malayalee settling areas near Mysore in Karnataka. Solomon falls in love with Sofia, the illegitimate daughter of a nurse now married to a railway mechanic, an alcoholic. Sofia's stepfather sets a marriage with his junior and drinking partner for her. When Sofia's mother accepts the proposal from Solomon, the stepfather rapes Sofia. At the end of the film, he is seen dragging her, still wearing her white bridal dress, towards his vineyard.

Direction & Screenplay: Padmarajan
Cast: Mohanlal, Shari, Thilakan, Vineeth
Music: Johnson

Thoovanathumpikal - 1987

Jayakrishnan, a well-to-do bachelor lives a dual life among friends in town, and at his village home, where he lives with his mother and sister. While he is a free bird celebrating life with his crowd of friends in town, he is a proper family-man at home. The film is about his dual life and his encounter with the sex-worker-to-be Clara, which takes him on a different journey and his love of Radha.

Direction & Screenplay: Padmarajan
Cast: Mohanlal, Sumalatha,Parvathi, Ashokan, Babu Namboothiri
Cinematography: Jayanan Vincent
Editing: B Lenin
Music: Perumpavoor G Raveendranath

Moonnampakkam - 1988
(The Third Day)

Thampi, a retired bureaucrat in his 80’s is leading a secluded life in a seaside village. His wife and son are no more, he has only very few close friends who share his solitude. The news of the arrival of his grandson Bhasi for vacation creates ripples in his life. Bhasi is a medical student whom he has not seen for many years. Bhasi arrives with three of his friends for a memorable vacation. As things brighten up and memories are aroused, a fateful incident occurs. Bhasi, while frolicking with his friends in the beach, disappears in the sea. The old man is shattered, and on the third day, the body is washed ashore…

Direction & Screenplay: Padmarajan
Cast: Thilakan, Jagathi Sreekumar, Jayaram, Keerthi, Ashokan, Rahman
Cinematography: Venu
Editing: B Lenin, Vijayan
Music: Ilyaraja

Aparan - 1988
(The Other)

A story of mistaken identity, Aparan is about an innocuous good guy mistaken for a gangster boss who may well have been his twin brother.

Direction & Screenplay: Padmarajan
Cast: Jayaram, Shobhana, Parvathi, Jalaja, Madhu, Soman
Cinematography: Venu
Music: Johnson

Innale - 1989
(The Past)

Gauri the sole survivor of a tragic bus accident loses her memory. Admitted to a private nursing home, where she is diagnosed as suffering from 'hysteric amnesia', she falls in love with the doctor's son. However, Narendran arrives from USA, claiming to be her husband. When Gauri still refuses to recognise Narendran, he retrns to the US wishing the young couple well.

Direction & Screenplay: Padmarajan
Cast: Shobhana, Jayaram, Suresh Gopi, Srividya
Cinematography: Venu
Music: P G Ravindranath

Njan Gandharvan - 1991
(The Celestial Lover)

Padmarajan's last film is a fantasy featuring the college-going Bhama and her passion for a celestial lover, who keeps appearing from a wooden statue that she found on a beach but is invisible to others. Eventually they are separated as he is punished by higher celestial powers.

Direction & Screenplay: Padmarajan
Cast: Nitish Bhardwaj, Aparna, Ganesh
Cinematography: Venu
Music: Johnson

A R rahman .....People says...

PEOPLE-SPEAK:

Says Gangai Amaran, well known South-Indian composer-singer and brother of Ilaiyaraja, "Rahman's music is of the computer age. It is digital but intelligent, not just noise. He concentrates on his melodies and has not totally deviated from Carnatic traditions". Noted director and lyricist Gulzar says "He is a milestone in Hindi film music. He has single-handedly changed the sound of music in the movies. He has broken the mukhda-antara-mukhda scheme of composition and replaced the traditional patterns of tuning. He can tune to a near identical rhythm in two different songs. But these songs will still catch the listener off guard even when played immediately after each other. Instead of having the fixed format, the song can also run like free verse with his kind of music."

One very interesting aspect of Rahman is his preference for untrained voices. Rahman says ".. a defect in the singing adds a human touch." His close friend and arranger-composer Ranjit Barot adds "In the Hindi music industry, if Kumar Sanu or Udit Narayan don't turn up, the music director starts panicking. But Rahman would probably look around the studio and experiment with some unknown and untrained voice." He goes on to add, "The man is a whiz coz he eats, breathes and sleeps music. AR Rahman has revolutionised the Hindi film music. Before we did Humma Humma for Bombay, the two of us composed jingles together. Rahman's USP is his ability to combine slickness with melody. The songs from Roja still haunt me. Few can make a successful transition from doing 30-sec jingles to 5 min songs. He's a genius." Bollywood movie mogul Subhash Ghai says of Rahman "Rahman is the biggest representative of Indian music. He is an example for future generations. He is the best fusion of art and science in music". One of his favourite directors Ramgopal Varma says," It is a challenge to picturise songs set to Rahman's music." His erstwhile competitors Nadeem-Shravan say, "The most amazing quality about Rahman is that he has been able to create a 'national sound' which in spite of his strong south-Indian feel appeals to a pan-Indian audience". Composers Jatin-Lalit say, "He totally changed the sound of Indian film music."

Internationally acclaimed Indian Tabalchi Ustad Zakir Hussain reminiscing about the time when Rahman played the keyboard along with violinist Kunnakudi Vaidyanathan and drummer Sivamani, on the album 'Colours' says, "He was barely 19 years old then but had mastered many different styles of music - western classical, jazz, rock and Carnatic. Even after his work was done he would stay in the studio, sitting through other musicians' pieces, eyes and ears tuned in, constantly imbibing. Very intelligent, smart and creative. He started as a young boy working with great composers like K V Mahadevan, for example. He knows the public pulse and has given the public a very intelligent combination package. This reminds me of R D Burman. These guys made it possible to bring together all elements of world music."

Singer Lata Mangeshkar, known as the 'Nightingale of India' with whom Rahman worked for the first time in Maniratnam's 'Dil Se' and later in 'Pukar', 'Zubeidaa', 'Lagaan', 'Water' and '1 2 ka 4', is all praise for him, " Rahman is known to record only during the night time. But he records with me during the daytime... when my voice is fresh. I don't like recording at night. And I've heard that Rahman records mostly in the night. But he made an exception for me. When an artiste shows such consideration for another artiste, it feels good. Aur kaam bhi achha hota hai. (Even the work done is good), Rahman doesn't take long over his recordings. Jiya jale was recorded in 40 minutes." Singer Srinivas, whose career best numbers have been with Rahman is totally impressed with Rahman's dedication to music and says, " He's totally absorbed in his music and there's nothing else that affects him. For him music is God. And he gets the best out of a singer." Says classical turned film singer P. Unnikrishnan who made his debut with the song 'Ennavale' from 'Kadhalan' and went on to win the National Award for his very first song, "I have sung more than 500 songs till date but this first song of mine is something I will remember and cherish all my life. The most wonderful thing is that today ARR is the most sought after Music Director in the whole country but as a person he has not changed and even today he is the same calm, composed, humble, committed, unperturbed ARR. Thanks to Rajiv Menon for having introduced me to such a wonderful artist." At one time an assistant to Rahman and today an independent composer in his own right, Harris Jayaraj remarks "I have learnt many things from many music directors. If you single out A.R.Rahman, I can quote his relentless labour, high enthusiasm, and commitment to the tasks at hand. He would never compromise on the quality of a song. He is quality-conscious and individualistic."

Singer Srinivas, whose career best numbers have been with Rahman is totally impressed with Rahman's dedication to music and says, " He's totally absorbed in his music and there's nothing else that affects him. For him music is God. And he gets the best out of a singer." Reocunting his experiences he says, "In 1992, in Coimbatore, was when I went to see Maniratnam's Roja because it was a Maniratnam movie. Dreams of playback singing had taken a back seat; I was in Coimbatore and travelling and didn't know how to approach it now. I was just taken aback by the freshness of Roja's music. After a long time, I had bought a tamil film audio cassette. This new person, Rahman, had introduced so many singers; the re-entry of Sujatha, Hariharan , Minmini and Unnimenon. Immediately, I realized that this person has an attitude towards introducing new artists, his music sounds fresh and he was definitely here to stay! On one of my official trips to Chennai, I got hold of Rahman's address and went to see him directly. At that time, he was very accessible (he had just started working on Pudhiya Mugam). He conducted a voice test; I sang a Mehdi Hassan ghazal and he liked it. I mentioned that I lived in Coimbatore and he said that if I moved to Chennai, he might be able to work with me. By the time I came to Chennai in 1994-95, he had shot through the roof! The gates had become bigger at Rahman's place . It was difficult to even get through to his office. With persistance and a little bit of luck, I was finally able to see him again. As soon as he saw me, he remembered. That's Rahman!.. He's human... and he's got GOD inside him as well! He slowly started giving me singing assignments. Rahman's approach is totally different which now many people have started following. For example, Raja Sir has the whole thing in his mind from the very beginning. You don't have a
doubt about what you should sing and you better not! (laughs). Two totally different schools of music. With Rahman, when you go in, nothing is ready. He just feeds in some basic chords. When you listen to them on your headphones, you are transported to some other world. Within two minutes, he creates a masterpiece of a loop. Those chords are just magic. You feel like singing so much! He incredibly motivates you when singing, which is also the reason why artists (singers and instrumentalists alike) give him the very best.

Vairamuthu, the lyricist, with whom Rahman shares a special bond remarks "I am considered to be a great poet, but I don't have any words to describe his genius. A.R.Rahman is not a normal music director. He has some God given gift in him. Otherwise, how can he compose such soul-stirring numbers? He is a rare pearl in an ocean of music.When one composes a song he is always worried as to whether the song will click or not. But Rahman is one composer who does not care about the commercial success of the song. He is always confident that if a number is composed wth a good heart and self-confidence it will be a big hit. He is like a younger brother to me. The total submission of his (A.R.Rahman) life for the cause of music; his thirst for creating not any chaff but only grains appeals to me the most!" Another veteran lyricist Vaali says "I have been in this field for decades and have seen a lot of music directors come and go.. But this young boy has held me spellbound! His talent, energy, enthusiasm is a lesson to all youngsters. He is always experimenting and is always open to new ideas." Grammy Award winning instumentalist Pandit Vishwa Mohan Bhatt says "Rahman has a good understanding of both Western and Indian classical music. I was asked to play for Mani Rathnam's film Anandam (renamed "Iruvar") which Rahman has scored. He has high regard for others, and gives due respect to other forms of music. I find Rahman very innovative, and wouldn't mind doing more films with him."

"Rahman's amazing," drools upcoming composer Vishal Dadlani, "I've listened to the music of Dil Se.. a hundred times and, each time, I learn something new. It is like an encyclopaedia on production." Director Suresh Krissna with whom he worked on 'Sangamam' and then the Indian version of 'The Return of the thief of Baghdad', calls him a 'die-hard perfectionist' and said "Rahman's manner of working sounds very unusual. Generally music is composed, lyrics are readied and the recording is done. But with Rahman it is not so. Far from it, Rahman composes and mixes the voice with a basic rhythm track. Then he goes on adding the music making innovations, inclusions and improvisations till the very last minute, or rather till the cassette stage itself. At every point the workaholic in him keeps goading him to feel that 'there should be something more to it.' The singer, under Rahman's direction, is given incredible scope to delve into every conceivable variation and the whole of it is recorded. This system of working was a revelation for me." Upcoming lyricist Ilayakamban who is working with Rahman in 'Tenali' says "His musical ability to confine the whole world's air in his flute; his glowing inner peace; the simplicity of a mother is what I saw in him." Singer Harini, who was discovered by Rahman in a talent search competition says, "The best part about singing for Rahman is the freedom he gives the singer. Even for my first song he let me sing the way I was comfortable with, eventhough I was a nobody then." "Singing for Rahman was a wonderful experience. I really enjoyed the song. A R Rahman is a wonderful, humble person to work with. A complete workaholic and very involved with his music. He is very creative and undoubtedly talented," says singer Roopkumar Rathod. Singer Abhijeet echoes his thoughts, "It is every singer’s dream to work with A R Rahman because he makes you feel like God. I worked with Rahman for a beautiful song called E Nazneen suno and for Nayak. Of course, I did get nervous when I had to record with him, especially since he records at an unearthly hour like three in the night. But he makes you feel as if you are AR Rahman and he is just an ordinary fellow. Other music directors should learn to be humble like him. Today’s music directors do not respect their singers. If one singer is not around they replace them with another. Also, they demoralise you when you are in front of the mike."


Director Shankar, again a favourite with Rahman - having worked with him on on some of his earliest films like 'Gentleman' 'Kadhalan' and later 'Indian' 'Jeans', 'Mudhalvan' 'Nayak' and 'Robot', has only praises for him, "A.R.Rahman - the name speaks for itself. He knows what clicks and what does not. He composes music according to the demand of the situation. He slogs so much to see that a song is good. He does not want to give anyone in the world the chance to tell him that his compositions are bad. What I like best in Rahman is his fighting spirit and 'never say die attitude' ." World famous guitarist, Jeremy Spencer ,formerly of Fleetwood Mac says 'The only contemporary Indian composer I know of and like is A.R.Rahman. His 'Vandemataram' was brilliant'. Lyricist Mehboob, who made his debut in 'Rangeela' and later penned Maa Tujhe Salaam cannot stop singing the praises of Rahman, "If there is one person whom I revere after God, our prophet, and my family then it is Mr. AR Rahman. He is like a brother to me. I adore him so much that I have no words to describe my feelings for this gentleman." The veteran director Shyam Benegal who shifted from his long time regular, the equally veteran Vanraj Bhatia, to Rahman, for the film Zubeidaa says, ', I admire three things about Rahman. Among the young composers he probably is the most original. He has a strong sense of melody and his harmony is unbeatable. Finally he gives his music a rich tonal color, richness through his combination of instruments, a character to the music.'

Shankar, Ehsaan and Loy, the composer trio can't stop raving about Rahman. Says Loy Mendonsa, "Rahman is a great musician, a great human being, his music is fresh, and honest. That's very important, writing something from the heart". Adds Ehsaan Noorani, "A R Rahman is my favorite, he's a genius, his personality reflects in his music, it's fantastic, his music is so pure, it's from the soul." And finally Shankar Mahadevan, "A R Rahman is my favourite because he's a genius, he knows exactly what he's doing, he's very well versed in classical as well as western jazz, all kinds of stuff. And he's open minded."

Director Bharathiraaja, known for his movies with rural themes - the ones with Rahman being 'Kizhakku Cheemayile', 'Karuthamma', 'Anthimanthaarai' and 'Taj Mahal' - and once an Illaiyaraja regular remarks "Illaiyaraja is a born genius. I wanted a change and that's why I shifted to Rahman. There is something in his music that intoxicates you. You work with him once and you will never want to work with anyone else after that." Veteran singer Chitra says "I have worked with all the music directors in the south before Rahman came in. When I sang for him the first time I found that I was doing something really different from what I had done before. I like Rahman, the music director. But I like Rahman the person even more. I don't how he manages to keep his feet firmly on the ground even after tasting so much success in this field. He is the only Indian composer whose stuff stands out." Says director Rajeev Menon "He'll remain my only choice and preference. He's part of my family. We've been working together for the past 14 years. In fact he was the one who got me into filmmaking, while I called him for a lot of my advertising assignments." Acclaimed singer Yesudas says, 'He is a genius musician knowing the psychology of youth.' Veteran singer Manna Dey remarks "I do not think too much of today's melodies. I do admire A.R.Rahman, for he is a master of rhythm. He is extremely experimental, and leaves no stone unturned in trying out new things."

Composer Vishal Bharadwaj opines "A. R. Rahman has elevated the quality of film music to an international level. When you hear Michael Jackson and Rahman at one go, you can't tell the difference in sound quality. Rahman is a terrific composer. He is a genius." Says old friend and singer Suresh Peters, "I was a drummer, not a singer and Rahman was a keyboard player. Both of us were working in a band called `Nemesis Avenue'. He was a very talented composer earlier itself, but everything happens only when the time comes. He started composing jingles and they started clicking. He was then signed on by Mani Ratnam and then there has been no looking back. I appreciate Rahman's sense of arrangement. No one can teach Rahman how a song should be composed. He is aware of all the latest in sound techniques. He knows what will appeal to people and what will not. He is very versatile and different from one film to the other. As long as he does not repeat himself, nothing can stop him from reaching the top ." Independent composer, rhythm programmer and close associate of Rahman, Pravin mani says, "...Rahman gives a lot of freedom to his technicians and all those-involved with him, while working. Moreover, he is extraordinarily creative. Rahman is the greatest person i have ever-seen in my life. He is really a humble person. though he has risen to very high levels, yet he is the same person and behaves the same way as he used to do in his earlier days, mingles freely ..., and that shows his greatness."

Singer Kavita Krishnamurthy, a Rahman favourite says "It's such a pleasure to sing for A. R. Rahman. He's such a simple guy. He has no ego hang-ups." Singer Sadhana Sargam, another Hindi singer whom Rahman prefers over many established singers, says "When Rehman calls you go without asking questions because you know it's going to be worth it.He's a reserved person and talks very little but he makes you give your best. He keeps a cassette ready wherein he has sung the song himself and listening to it makes your work so much easier, he allows any number of retakes. If you've sung half a line beautifully and haven't sustained that in the other half, he'll retain that half and make you work on the other half. The result is magnificent. . And Rehman makes his pleasure very evident when he likes something you've done... then he won't even be shy."

Veteran singer Asha Bhonsle whose career got a revival when she sang for Rahman in 'Rangeela', says, "He understands the youth of today, he has brought about a freshness, a new sound to film music. He's always experimenting, doing something different which is very inspiring for the playback singer." New age Singer-Composer and a close friend of Rahman, Shankar Mahadevan says "I think A.R.Rahman is an absolute genius and is one of the few music directors who completely knows what he is doing. It's an absolute pleasure working with him as he is a cool and modest guy." Noted Sarod maestro Amjad Ali Khan says, "Wonderful! He has a new approach, he has given a new direction to film music. I think even the established music directors want to sound like him. Perhaps all his songs won't be remembered and hummed after decades. But for the time being, Rahman's tunes are extremely enjoyable." Veteran singer S. P. Balasubramanium says "The man responsible for the variety in today's music is A. R. Rahman." Hema Sardesai who shot into fame when she sang Aawara Bhanwre in 'Sapnay' is effusive in her praise for Rahman, "When Rajiv Menon recommended me to A.R. Rahman, he never gave a second thought and called me over the phone to be in Madras the next day for the recording. Even though I was on cloud nine, deep down I was feeling as if somebody had pulled a trick on me. God has been great! He came into my life as Rahman sir." ONe of his blue eyed boys, singer Sukhvinder Singh says "A R Rahman not only gave me the break (in Dil Se), he taught me a lot of techniques in composing music arrangement and recording. He was the one to impress upon the need to be technically perfect before any producer could be expected to invest in you." Composers Anand-Milind say, "He is the only composer to have brought in something new all by himself in a long long time." Says Ehsaan of the Shankar-Ehsaan-Loy trio ""A. R. Rahman is the best! He is a genius and a wonderful human being and it translates in his music."

Popular drummer Sivamani, a childhood friend of Rahman and a professional regular with him, says "Our association began when we both were really young. We had this band called Roots. We just make very good music together. He is a master of laya(melody) and taala(beat). The recognition that I enjoy today is because of Rahman. There are so many talented people behind a film music score. I played for Illayaraja for very long, but my name never figured on the screen or the cassette cover. Rahman changed it all. He gives credit to every single member of his team for whatever part they play, big or small. That makes him really special. People came to know about me only because of him. I thank him for that." Javed Akhtar, noted lyricist, says "I think he is an all rounder, I mean his grounding is very very solid. He knows Indian classical music, he is in touch with Indian folk music, he knows about western music and he has really studied western classical also. He knows about Middle Eastern music. So there is no wonder you see different colours in his songs. But Indian music has borrowed albeit being influenced by Middle Eastern music in past also. But, you see, when Rahman takes a raag or if he takes a folk tune, or if he takes notes of say Arabian music or South American music. When this music comes to Rahman, it becomes Rahman's music his influences are beyond film music and he has a kind of courage where he is not afraid to experiment, he is not afraid to fail and that is why he succeeds. We remember only those people who were not only successful but they have brought something to the arena that is new. Now this is a another leap, a quantum leap that Rahman has taken and he has given a kind of new sensibility to Indian music listener and the music maker. The sound, the orchestration, the very structure of the song. He has challenged the basic structure of Indian film song and he has altered it, changed it. And, I think his contribution is totally unprecedented. Successful people come and go. Ultimately it's the pathbreakers who're remembered with the passage of time. People who have walked on untrodden roads. Success is worshipped momentarily, and then forgotten. It's not enough to be successful. It's important to attempt something new. Rahman's contribution to film music will never be forgotten. He has given a new dimension and understanding to sound. Working with him is definitely a great pleasure. I get along very well with him. He is one person who is only interested in his work. Inspite of his stupendous success, he is so humble and down-to-earth."

Says composer and former Rahman associate Sandeep Chowta, known as 'The poor man's Rahman', "Rahman revolutionised sound. He's a trend-setter in more ways than one. The only thing common between us is the fact that we started out in advertising and moved on to films. There's just no comparison otherwise. Rahman is a legend of sorts. Rahman is unique. He doesn't have set ragas. Yet his chord progressions are beautiful. People sometimes compare me to A R Rahman, it happens. People like Lata Mangeshkar, Asha Bhosle and even Andrew Lloyd Webber have paid tribute to him and called him a legend. I can't even begin to fathom the reasons for the comparison. He's in another zone altogether, he is amazingly brilliant. If people compare me to him, I'd take it as a compliment. " Bhupen Hazarika, the legendary Assamese composer with whom Rahman worked on 'Desh Ka Salaam', opines, "People become immediately entranced by whatever Rahman composes. He is a phenomenon. He's young and talented. And he has his fingers on the pulse of the new generation. Like Salil Chowdhary he knows both western and Indian music styles. He's a great talent but his talent shouldn't be overutilised." Many other noted personalities like lyricist Javed Akhtar, actress-parlimentarian-social worker Shabana Azmi, actress Sridevi, singer Shubha Mudgal, classical instrumentalist-composer Pandit Vishwa Mohan Bhatt(worked with Rahman on Iruvar and Alai Paayuthe) have repeatedly expressed their liking for the Rahman brand of music. Says Sir Andrew Lloyd Webber, the reknowned composer of musicals, who picked Rahman to score for his musical Bombay Dreams, the first time an outsider worked on the compositions of an Andrew Lloyd Webber musical, " I think he has an incredible tone of voice. I have seen many Bollywood films, but what he manages to do is quite unique--he keeps it very much Indian. For me as a Westerner, I can always recognize his music because it has got a rule tone of voice of its own. It's very definitely Indian, yet it has an appeal which will go right across the world. He will hit the West in an amazing kind of way; that is, if he is led in the right way. He is the most extraordinary' composer who is still true to his cultural roots, ' and deserves to be heard by an international public"


Choreographer Chinni Prakash throws up his hand in mock frustration and says, "Its challenging to choreograph Rahman's songs. He does not stick to the conventional four-eight-twelve-sixteen beats. He's unpredictable. Sometimes, he gives you a two and three-quarters beat. What do you do with that?" Ramgopal Varma , who worked with Rahman on Rangeela and Daud says "There is a bigness in Rahman's music. Every note reflects the mood of the song. When I used to hear his music for my film I used to wonder if I was feeling my story as deeply as he was". "His music has that international quality which is absolutely stunning," says international director Douchan Gersi for whose film 'The Return of the Thief of Baghdad', Rahman scored the music. Says Pune based music critic Jayanth Deshpande, "The unique brand of classicism brought into Bollywood music by A.R.Rahman mirrors not only the variegated tapestry that is India, but also the global musical culture. Rahman borrows ever so subtly from American soul or Gospel. He draws generously from rap, disco, folk, reggae, qawaali, Hindustani and Carnatic in his rhythms. And the vocal ornaments of Carnatic music or ever present. Orchestral textures and harmonies typical of Western music often grace the background. His is a truly international music with a distinctly Indian feel. He has experimented as perhaps no other Indian composer has before him or does now. Some may be tempted to call it Indian fusion music of a highorder. I've heard his music being used as background in a German TV feature unrelated to music or India."

Govind Nihalani who was the first Bollywood director to sign Rahman says " I am a lover of music. Some years ago a friend of mine gave me a cassette of 'Roja'. I was amazed after I listened to the songs. I decided right away that A.R.Rahman will give the music for atleast one of my films. Immediately I came to Chennai and spoke to him. He is an absolute genius. Very Modern! His range of imagination is expansive. He doesn't treat his profession as just composing music for films. He is able to lift a film to a new level with his music. Just as a painter is identified by his artistic style he is identified by his tunes. Even If i say I am satisfied he does not stop. Uncompromising spirit!! I am not saying this just to praise him. A. R. Rahman is the only composer in India upto international standards today. In fact I will go so far as to say that he is a composer of the next millennium. He is not a person who merely makes tunes. He is someone who creates music. He is constantly observing the trends and developments in his profession. I believe that is also a reason for his success. First , he reads the script and takes detailed notes of the situations, the mood, and the characterisations. Sitting before his keyboard in the studio at night he would say, "Give me a word!Give me a phrase." And he would work out a rough tune on the spot. Then he records it with a singer. But the real magic starts when once he has the song before him on his computer screen. He plays with it, takes a phrase from here and puts it there. Block by block, verse by verse he builds up his song. YOu can see the coloured bits forming fascinating patterns." He paid the ultimate compliment when he said " Its like watching a master sculptor in action."

Ace director Subhash Ghai, with whom he worked on 'Taal' is all praise for him, "Rahman is the rhythm of 'Taal - The Rhythm'. I wouldn't be able to make Taal without this remarkable musician, this great soul who was born to give Hindi music a new life. I am privileged to work with a man who has been inspired and blessed by God above. I don't mind changing all my nights into days to work with him. You know this great man only creates fresh tunes in the night and sleeps during the day. Rare man, rare way of working. That's how all great men are. He creates according to the director's need. He is a widely knowledgeable composer, with knowledge of all kinds of music of the world. He can play Western Symphony with as much ease as Hindustani or Carnatic classical which is a very rare quality in composers. Rahman has a strange kind of spirituality within which he lives. He knows technique, has a rare sense of sound and a great ear. He can make any besura (tuneless) voice sing well. This is obvious from singers who have sung beautifully for his albums but have not done well later. I love him both as a composer and as a friend. He is very sweet to talk to. The only thing is you talk and he listens. He has a sharp intellect and understands not just the sound of music and quality of voice but also the market forces and how to move from post to post. Rahman is undoubtedly a genius. He's divine and simple. " Rahman's favourite singer Hariharan says, "His strength is the way he designs sound. He has revolutionised film music. He is perpetually on a quest to get the best out of you and makes you feel at ease which is important. I have sung some of my best songs for him."

Indian-born Canadian director Deepa Mehta with whom Rahman has worked on 3 films - 'Fire', 'Earth' and 'Water' - says, "Brilliant, I think he is the most consummate composer that I know of in the world. His music comes from the characters and is an extension of them. I think he is the best.He is the most brilliant film composer in India today and is in such demand that he has altered his normal working day to begin at six in the evening and go through the night, so that he can compose undisturbed by producers' calls. A.R.R. is a very young man of prodigious talent with an immense sensitivity to the film's context and characters. Whatever I say about his genius will be stating the obvious. He finds the sound for every character in the film. He finds the character's sur. Raag, rhythm, reggae, folk, classical, he's got it on his finger tips. He's so cinema literate. He can discuss Ingmar Bergman's Autumn Sonata and he can talk about Subhash Ghai's Taal, all in one breath." Singer Alka Yagnik opines "He's a one-man-show. Once he's taught you the song, he gives you a free hand. He lets you sing it the way you want to.". Noted Qawwal, The late Nusrat Fateh Ali Khan, who worked with Rahman on 'Vandemataram' said ldquo;The young boy Rahman is the only person with humility in this entire industryrdquo;. Up and coming composer Ismail Darbar who pipped Rahman's 'Taal' to the National Award in 2000 with his score in 'Hum Dil De Chuke Sanam' is an ardent admirer of Rahman. He says, "His work speaks volumes. There's no one like him. Which is why I didn't mind when he walked away with all the awards for Taal. He's just so good. When it comes to making electronic music he's the best. I know I can't even compete with him there." Says another leading Bollywood composer Anu Malik, "I appreciate A.R's work. He has a penchant for being international. I think he is talented. A.R. has taught me the value and meaning of sound in my recording and thanks to him, today I am my own arranger."

One of his closest associates, long time friend and sound engineer H. Sridhar reveals some little known facts of Rahman,"I had known Rahman many years before I started working with him on Roja. While he was doing jingles, we would often meet and compare notes on music trends and synthesisers. Rahman's biggest asset is that he treats each song as his first song. He prays before each session. I believe there is some power in his God, faith and religion. I can give you countless examples when he became so inspired after his prayers. He is very open-minded about what a song needs and gives each song a completely individual taste. It is the way he soothes you into a song that I call his signature. There is a visual texture in his mind when he composes music. When you see the song picturised you can immediately connect. Rahman allows musicians to be themselves. He understands their soul. He also has a fabulous way of getting notes out of a musician without telling them in so many words. Rahman never ceases to amaze me. He is such a fine musician apart from being a music director; his strength is fusion. He is also a techno-junkie. If you give him a set of headphones he will most probably rip it apart to understand why it works so well! I sometimes say that we are techno-brats. But Rahman knows that a song shouldn't speak the technical language but should have soul. Rahman is humble and very generous with money. He hates to see people suffer. I think his philosophy is that people should derive happiness from his music, even if it is a sad tune. He has this tremendous need to be perfect." Hot shot director of the bubblegum generation, Karan Johar says "The only music composer from the current lot who will be remembered for a long time is A.R.Rahman."

Comments British-based international chart star Apache Indian, who worked with Rahman on a track for the film 'Love Birds', "He's very talented as a songwriter and singer. I think he can do great things." His mentor and favourite director Mani Ratnam says, "I have found that Rahman is a favourite because he is new and above all different. He knows the pulse of the audience. He has a very good sense of tune. He knows what kind of orchestration is necessary for a scene and what music suits the mood of the scene.He has the music in his mind, and uses every musician as an artiste, probably because he has been an instrumentalist himself. He tries to extract something extra from every one of his musicians as well as his playback singers. He believes in their additional input. Rahman improvises. I found in him a new and different composer who never compromises on quality. Rahman is every director’s dream." He has no ego problems and tries to come out with a new number with the same kind of passion with which he did the earlier one. But he is best summed up, perhaps, in the words of Cinematographer-director Rajeev Menon who worked on many ads and the films 'Minsara Kanavu' and 'Kandukonden Kandukonden' with him, " Music comes to him instinctively. When you see him play, his skill is such that you really believe God exists in his work."

India's leading newspaper 'The Times of India' carried a feature titled "Men we regard: Our tribute to the men without whom this world would be quite, quite insipid" in which it picked Rahman as one of them and wrote "Music maker A.R.Rahman has given these raucous and raunchy times melody and mood. His style is individual to the extent of sounding repetitive sometimes, but when you hear his work, you feel at last the kind of involvement with the spell of sound that was R.D.Burman's. What is most attractive about Rahman's music is his ability to link modern rhythms and experiments with sound with our enormous legacy of classical and folk music."

India's leading newsmagazine 'India Today' paid glowing tributes to him when it published the following lines - "Sometimes a song is just a tune for a music director, whose rhythm invades you, which you hum in front of a bathroom mirror that has a warranty never to break. Sometimes a song is just an intricately woven lacing of words that embraces you on a still, lonely night. Sometimes a song is just a voice for a music director, whose passion makes your hair stand. When A.R. Rahman takes you on a journey-- and to hear it is to feel you have no choice but to journey with him...... ." India's leading women's magazine Femina published a feature in its July 1999 issue listing Rahman as one of the 14 "Men we'll still want to see around in 2009"

A R rahman

The year was 1991. Ace Tamil movie director Mani Ratnam was on the lookout for a new composer to give music for his films. His long standing fruitful association with the doyen of Tamil film music Illaiyaraja, which had spanned over 10 films and as many years had come to an end when the two had had a fallout after the latter reportedly made some sarcastic comments during the making of Mani Ratnam's then latest film 'Dalapati'. One day, at an awards function for excellence in the field of advertising, Mani Ratnam chanced upon a young man who received the award for the best ad jingle which he had composed for the popular Leo Coffee ad. At the celebrations party that followed the awards presentation ceremony, Mani Ratnam was introduced to the young composer by his cousin Sharada Trilok of Trish Productions for whose company the young man had produced some outstanding work. Sharada had words of high praise for the young composer. Mani was curious and requested him for a sample of his wares. The composer readily complied and invited the director over to his studio. Mani Ratnam turned up at the studio only after six months, where the 24 year old lad played out a tune that he had been pushed into composing by his school friend G.Bharat alias Bala when they both had been greatly disturbed by the socio-political tensions in South India over the Cauvery river waters issue. Listening to the tune that was played, Mani was hooked instantly. Without a second thought he signed on the composer to score the music for his next film. That film did not work out but Mani signed him on for a new film which was to be produced by the veteran Tamil director K.Balachander for his respected 'Kavithalayaa' banner. That film was 'Roja'. That tune would become the song "Tamizha Tamizha" in 'Roja'. The music of the film would be a phenomenal success that would revolutionise modern day Indian film music. The name of the 25-year old composer was A. R. Rahman. And the rest, as they say, is history.

Cut to the year 1998. Mani Ratnam's then latest film, his first in Hindi and his fifth with Rahman, 'Dil Se..' hit the screens. The movie all but bombed in India. But the music, yet again was a resounding success. The music sold like hot cakes even six months after it was released in the market. In a recession hit Indian Film industry, the two biggest hits of the year, 'Pyar Kiya To Darna Kya' and 'Ghulam' had sold 2 million cassettes each. Such was the confidence of the music company, Venus, in the Rahman-Ratnam combination that they started with an unprecedented initial run of 2 million cassettes, then notched up sales of 6 million and are still going strong. It even successfully survived the onslaught of what later became the year's biggest hit, Kuch Kuch Hota Hai. So much so, that just on the strength of its music, Dil Se.. succeeded in gaining the distinction of being the first Asian film to enter the U.K. Top 10. Moviegoers in London said that it is the music that drew them to the movie halls. Such is the spell that the music from the Rahman-Ratnam combination has cast over music lovers.

The Rahman-Ratnam combination forged six years ago is now five films strong and has given the world of Indian films some of its best music. The combination has taken music to new heights that has succeeded in captivating millions of listeners not just across India but even in far flung corners of the world. Rahman says about his mentor, "I was blessed to be picked by a director like him. He encouraged me a lot. It was as if I studied in Mani's own university of music. He is like a brother to me."

BACKGROUND:

Going back in History, the following question arises. Six years ago, who listened to Tamil music? Only Tamilians. Five years ago, what did teenagers dance to at discotheques? What else but Michael Jackson, Dr.Alban or the latest Western dance hit of the day. But one man singlehandedly changed all that. With his universally appealing tunes, A.R.Rahman has demolished all conventional rules in Indian film music. He amazes with the manner in which he seamlessly integrates traditionally incompatible harmonies. If anyone can make a perfect potpourri of the latest dancehall rhythms, electro-pop, Latin melodies, Western and Indian classical and pepper it all with a local folk touch or even something as otherworldly as Reggae and serve it all in a contemporary Indian manner that mesmerises listeners, it is A.R.Rahman. His music transcends all barriers - geographic, age or linguistic. Everyone from 6 to 60, Kashmir to Kanyakumari, as the cliché goes, are fans of his music. He was the first to successfully and solidly bridge the gap across the Vindhyas with Hindi speaking denizens who did not understand one word of Tamil enthusiastically lapping up his music. He gave film music a trendy legitimacy, a legitimacy that made Indian youth who were till then ashamed of admitting in public that they enjoyed Indian film music, dance to Humma Humma, Muqabla Muqabla, Musthafa Musthafa and Chaiyya Chaiyya at every pub, club and disco. Overnight, Indian film music considered 'infra-dig' by the youth became 'cool' and 'hep'. All in all, quite arguably, no one has influenced Indian music as much as Rahman has in recent times.

He is the man who helped south Indian cinema go national in a way that was considered impossible even a decade ago. He bridged the gap between Tamil (and even Telugu on occasion) and Hindi with that most universal of all languages: music. Predictably Rahman would later say "I hate the discrimination between south, north, Tamil, Hindi. If I represent India that is good enough for me. But we should cross all these barriers." Rahman did more: he made, to use film industry jargon, music a territory in its own right. Thus, the soundtrack of each movie was sold as if it were a separate entity from the film itself. And as if to prove him right, his music assumed a life of its own, flying off the shelves at record speed even when the film in question bombed at the boxoffice.

Rahman's strength lies not only in his perfect sense of melody and rhythm but also in his immaculate sound engineering. His music has been hailed as that of the digital age and has also been assailed for the very same reason. His music can never be adequately described in words. One has to personally experience the pleasure of his creations. Many of his compositions might actually sound ordinary the first time. But his music has this amazing capacity to grow on you and establish a firm hold on the listener. His compositions are an intriguing cocktail of musical pieces that literally blow your mind. His music is unique in its offbeat instrumental interludes, unconventional harmonies, and use of far from perfect voices and thumping rhythms.