A.R.Rehman!!! Jai Ho!! It was the year 1992, me just out of college, wondering what to do next in life. One fine day, a friend of mine raved about this new album, Roja, calling the songs fantastic. I knew Roja was being directed by Mani Ratnam, and i glanced at the album cover, it said music by A.R.Rehman. Considering that all of Manis movies had music by Ilayaraja , and even their previous collaboration Dalapathi, had some great numbers, i was surprised at why Mani had choosen this newbie composer. Anyway always counting on the fact that Manis movies had great songs, i picked up the casettes. And yes i first heard, Chinni Chinni Asai, the music was something like never heard before, it was melodious, folksy, but distinctly different. It had a different tone, different rythm, i mean something attractive about it. And then followed the energetic, infectious Rukumani, Rukumani, the haunting tones of Puddhu Vellai Mazhai and the soulful Kaadhal Rojave. While the album was a success, it really gained after Roja was released, and went on to become a huge hit. Rukumani, Rukumani was a favorite at most of the functions, while Chinni Chinni Asai( Chinna Chinna Aasa in Telugu), came to be on every ones lips. A.R. Rehman had arrived, as he won the National Award as well as Filmfare Award for his score. If Mani and Roja, made sure that Rehman arrived with a bang, it was a 1993 movie, that established Rehman further. An assistant director to S.Chandrashekar, he made his directorial debut with Gentleman. Actually it was a movie, not many gave much a chance to run at the box office. Shankar was unknown, the hero Arjun was not exactly one of the top stars, and only Madhoo, fresh from her success in Roja, was the highlight. The movie went on to become a runaway success at the box office both in Tamil and the dubbed version in Telugu. Audiences loved its storyline of the Robin Hood like hero, and also its take on the reservation issue in Tamil Nadu. Arjuns career got a new lease of life with this movie and Shankar announced himself as one of the hot shot directors in Kollywood. The movie also had some great action scenes, which made audiences go wow, and in fact some really gory scenes. And yes the musical score by A.R.Rehman, again busting the charts. Chikku Bukku Raile, sung by Suresh Peters, was an item song by Suresh Peters and G.V.Prakash was the campus rage, played at almost every function and party. The way ARR actually synchs the train sound with that of the music, is brilliant here. Usalampatti Penkutti( Mudinepalli in Telugu version) was again a folk song kind, with a pretty erotic depiction. Otthagathai Kattiko, had that epic style picturization, and another wonderful score, pretty much rythmic. If Gentleman, gave a new lease of life to Arjuns career, Shankars next movie, Kadhalan( dubbed into Hindi as Hum Se Hai Muqabla), would make an actor out of Prabhu Deva. Prabhu was already famous for his choreography, as well as his stunning dance movies, but Shankar, actually went and cast him as a full fledged hero. Co starring Nagma as the heroine, the movie was a typical fun filled boy meets girl caper, with the villianous elements thrown in for good measure. The movie again went on to become a runaway success, cementing Shankars position further. Prabhu Deva made the transition from a dancer to an actor, and as for Rehman, well suffice to say, Kadhalan would not have been the success without A.R.Rehmans music. People watched the movie again and again, just for the songs. Mukkabla picturized in a Western kind of environment, was a run away hit. The opening riffs of the song was a straight tribute to Ennio Morricone, right from the church bell ringing to the voices echoing. And Urvasi, Urvasi was another favorite with the campus crowd, if you observe the song, it starts off slowly, and then slowly it ups the tempo. The breezy, peppy, Kadhalikum Penin, with its lovely humming and yeah the Pettai Rap song, with its absolute nonsensical lyrics. Rehman also teamed up with Mani again for Thiruda, Thiruda starring Prashant, Anand and Heera. The movie a road caper, was a dud at the box office. However A.R.Rehmans score was again a huge hit. Veerapandi Kotayile, one of my all time scores of ARR, had that kind of rousing, orchestra kind of feeling. And the seductive, haunting Konjam Nilavu another great song. Though Rehman was a favorite with the campus crowd thanks to Urvashi, Pettai Rap, Muqabla, Chikku Bukke Raile, he could slip into real soulful melodies like Ennavale Adi Ennavale( Kadhalan), Kaadhal Rojave( Roja), En Veetu Thotathil (Gentleman). He was as comfortable with a folksy Usilampatti( Gentlemam), Yerrani Kuradhani( Kadhalan) as he was with a more Western Anjali, Anjali( Duet, wonderful use of saxophone here). The fact is Rehman could appeal to all kinds of people, be it the hip campus crowd in Stella Maris or Loyola, or the retired uncle in Mambalam, or some one in small town Gobi or Tiruvur. And though ARR s foray in Telugu cinema industry was not too succesful( Gang Master, Super Police being total washouts), he was equally popular in Andhra Pradesh, with the dubbed versions of his Tamil songs proving to be equally popular with the junta. 1995 was a landmark year for Rehman. Though already popular with Hindi audiences, due to the dubbed versions of his songs in Roja, Kadhalan, ARR, made his debut in mainstream Bollywood with Rangeela. Ram Gopal Vermas tribute to the musical, the movie made Aamir Khan every ones favorite tapori, while Urmila Matondkar, made the transition from a Plain jane, to the nations pin up girl. The pulsating opening riffs of Tanha, Tanha were just magical, and as Asha Bhonsles seductive voice floated on the screen, to the images of Urmila running on the beach, dressed in just a tee, guys just went fida. And then the mesmerizing Hai Rama Yeh Kya Hua, to the more peppy Kya Kare Ya Na Kare, to the energetic infectious title track, Rehman had arrived in Bollywood. Though Dilwale Dulhaniya Le Jayenge, swept the Filmfare Awards, Rehman won the Best Music Director and deservedly so. No disrespect to Jatin Lalits score in DDLJ, but all the songs in that movie, put together could never come close to the opening beats of Tanha, Tanha. ARR had arrived now in Bollywood, officially that is, because Hindi movie audiences were already exposed to his songs. And earlier in 1995, too, ARR teamed up with Mani again for Bombay, set in the backdrop of the 1993 riots in Mumbai. When Bombay released, i was working in Delhi, and throughout that time, the songs on every ones lips were from that movie. While the foot tapping Humma Humma, was already the rage with the younger crowd, my eternal favorite would be Tu Hi Re(Uyire in Tamil), only one word describes that song for me, masterpiece. Take the opening notes again, slow, drawn out, kind of deep bass, and then the musical interlude, fantastic use of flute, and the way the song modulates from low to high, with a flawless rendition by Hariharan. Honestly whenever i listen to the song, i just get the goosebumps. If i were to choose just one song, that qualifies ARR as a genius, it would be this, IMO. And of course Kannalane, wonderfully mixing up the Sufi beats with a lovely rythm. While Rangeela had a great soundtrack, for me though Bombay is the much better of the two. One feature of A.R. Rehmans career has been the breaks he has given to new comers. Minmini shot into fame with Chinni Chinni Asai in Roja, Hariharan made his debut with Thamiza in Roja, and from then on has always been a Rehman favorite. Sujatha again became noted with Puthu Vellai Mazhai in Roja. Swarnalatha was the husky voice of Usilampatti and Muqabla. Udit Narayans foray down South started with Kadhalan, Unnikrishnan again became famous with Ennavale in Kadhalan. While he used Udit for couple of songs in Rangeela, the rest of the singers were not the regular Hindi movie ones. ARR himself providing the vocals with Shewta Shetty for Mangta Hai Kya, getting the underrated Suresh Wadkar for Pyaar Yeh Jaane Kaise Hai. Rangeela, Bombay established ARR firmly, and in fact the most important thing here is that ARR, broke the North-South barrier. He was equally popular on both sides of the Vindhyas. Now what made ARR actually break this invisible barrier? I guess one reason could be with the spread of cable TV , people were having more exposure. Also ARR had a unique style of his own, which actually could not be classified as totally Southern. If we take Chinni Chinni Asai, it had a typically Southern folk touch, especially in the musical interludes, and yet when dubbed into Hindi, it could appeal equally to the North audience. However, in my opinion, it was ARRs 1997 music video Vande Mataram, that made him a pan Indian icon. The pulsating rythm, the music, the simple lyrics and of course ARRs rendering, totally transformed everything. When ARRs exclaims Maa Tujhe Salaam, you actually feel that josh. It appealed to every Indian, old, young, rich, poor, North, South, urban, rural. In effect, Vande Mataram transformed ARR from just a music director into a celebrity in his own right. He was not just someone in the background, he had a face, he had a voice, and most important, his music touched both the commoner and connosieur alike. If the commoner could jive to Rangeela Re or Muqabla, the connosieur could delight in the sheer artistry of Narumagaye or Tu Hi Re. Also one more reason why i felt A.R.Rehman was able to be equally succesful in the North, was his understanding of the North folk music. And it was not Lagaan, but 1947-Earth, that initially showcased it. Ruth Aa Gayi Re, by Sukhwinder, was a song, totally rooted in the North Indian folk tradition, the way he beautifully uses the dholak in the song, shows his wonderful grasp of the local folk idiom. Of course in Lagaan, he totally showed his mastery. The way he starts off the Mithwa song with the tanpur strumming and the Har Sant Kahe line, and slowly in synch with the strumming, and when it comes to the Mithwa part, just observe the way he simply ups the tempo, with the drum sound. And the way he mixes the Western classical beats with the more folksy tunes in Oh Re Chori, and the way he switches between the contrasting voices of Vasundhara Das and Alka Yagnik, with not a single jarring note. A.R. Rehman is a person, about whom, the more is said, there is still more to be said. Honestly me writing about A.R.Rehman is like sooraj ko roshni dikhana or trying to hold a candle to the sun. This was just a very small and humble tribute to this genius and maestro. Maybe he is not giving his best now, maybe some of his recent songs have been plain mediocre. But i refuse to give up on a man, who has composed Tu Hi Re, Mitwa, Naramugaye. There are music directors who are just good, and then there are people like A.R.Rehman, whose songs just transport me into another world. Jai Ho, Allah Rakha Rehman, you totally deserve those two Golden Statuetes in your hand. It may not have been for your best, but its not an issue. For having been listening to your songs from the past 17 years, i can say with conviction, you deserve to stand where you are today.
http://passionforcinema.com/arrehman-jai-ho
