AR Rahman, once renowned for delivering exceptional music, has faced a period where his compositions failed to resonate with audiences. Music directors like DSP, Thaman, and Anirudh took over.
During the 90s and early 2000s, Rahman’s music was nothing short of magical. Hits like Roja, Bombay, Dil Se, Taal, Premikudu, Gentleman, Indian, Rangeela, Prema Desam, Lagaan, Sakhi, Swades, Rang De Basanti, Guru, Ye Maya Chesaave, and Rockstar solidified his place as a musical genius. His work during this era was celebrated for its innovation and emotional depth.
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However, in recent years, Rahman’s output seemed to lose its spark. Films such as Lingaa, Mohenjodaaro, 2.0, Bigil, Mersal, and Heropanti 2 did not have the same impact, and even his score for Ponniyin Selvan failed to meet the high expectations set by his previous work.
His music in these projects was often criticized for lacking the charm and connection that defined his earlier compositions.
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This year, AR Rahman has made a smashing comeback. His hauntingly beautiful tunes for the Malayalam film Aadujeevitham have been well received, and his contribution to Chamkila has breathed new life into the movie.
Most recently, his work on Raayan, featuring Dhanush, has been a standout. Despite Raayan receiving mixed responses for its direction, story, and screenplay, Rahman’s music and background score have been praised unanimously, proving that he still can create compelling and memorable compositions.
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As Rahman approaches the 32-year milestone in his cinematic career, his recent work reminds us of his enduring talent.
With highly anticipated projects like Chhava and Nitesh Tiwari’s Ramayana on the horizon, fans and critics alike are hopeful that he will continue to produce music that reflects the brilliance of his work in the 90s and 2000s.
