Bollywood Turning Cold on AR Rahman is Stranger Than Fiction

I have eye-witnessed communal slurs against Rahman at his recording studio in Chennai, recounts Khalid Mohamed.

AR Rahman, who had converted from Hinduism to Islam, at the age of 23, has now been forthright enough to state the ongoing prejudice and biases against him.

(Photo: Kamran Akhter/The Quint)

When a topline Mumbai film producer was turned down by AR Rahman, the retort was, “Is that because you're prioritising Muslims over others?” At that time, the music composer was neck-deep into completing the soundtrack of my Muslim-themed film Tehzeeb, after which he would work on MF Husain’s Meenaxi: A Tale of Three Cities. Rahman didn’t dignify the producer with so much as half a response.

Another producer from Mumbai had whimsically asked him, “Do you have issues with composing bhajans?” No-brainer that, since Rahman had already composed more than half-a-dozen popular bhajans, with unflinching regard for the purity and devotion of bhajans.

“Why do you always take a break for namaaz? And step out of the studio? You can always do that later.”

I had eye-witnessed such slurs against Rahman at his recording studio in the Kodambakkam neighbourhood of Chennai.

Rahman, who had converted from Hinduism to Islam, at the age of 23, has now been forthright enough to state the ongoing prejudice and biases against him—forthright because this comes at a juncture of dire political fragility and the ballooning blindsiding of the minority community.

A Legend Iced Out 

In sum, in his interview with BBC Asian Network, Rahman has stated that through 'Chinese whispers', it is quite evident that Bollywood has kept a distance from him for the last eight years, ascribing this essentially to communal reasons—and that he is a Tamilian.

Oddly, his detractors have ignored his excellent score off late for Anand L Rai’s Tere Ishq Mein. Why? Obviously because the times are a-changin', and the answers are written legibly on the wind.

Dhanush and Kriti Sanon in AR Rahman's latest Tere Ishq Mein.

(Photo Courtesy: YouTube)

Compounding the backlash against him, there’s his frank-speak of last year's mega-blockbuster Chhaava. Although he expressed his deep honour for having had the opportunity to be a part of a film dedicated to the valour of Marathi warrior Chhatrapati Sambhaji Maharaj, he remarked that the film was ‘divisive’.

A still from the music video for Rahman's Aaya Re Toofan in the film Chhaava, starring Vicky Kaushal.

(Photo Courtesy: YouTube)

When asked about the characters in the film mouthing ‘Subhanallah’ and ‘Alhamdulillah’ during moments of conflict, he said, “That is such a cliche. It is cringe. I have great respect for people. They are not that foolish to get influenced by false information. I have great faith in humanity. People have a conscience, heart, love and compassion.”

His near-freeze from Mumbai showbiz is stranger than fiction.

After all, once his music in his debut film Roja, directed by Mani Ratnam, became the national craze both in its original Tamil and dubbed Hindi versions, he elevated the quality of dozens of films by A-list directors. There was Ram Gopal Varma’s Rangeela, Subhash Ghai’s Taal, Ashutosh Gowariker's Lagaan and Jodhaa Akbar, Rakeysh Omprakash Mehra’s Rang De Basanti and Delhi 6, Imtiaz Khan’s Rockstar and Highway, and Yash Chopra’s Jab Tak Hai Jaan.

And these are a just a few random examples, culminating in his Oscar and Grammy wins for Jai Ho for British director Danny Boyle’s Slumdog Millionaire. By the way, the very same song had been rejected earlier by Subhash Ghai.

AR Rahman's internationally acclaimed Jai Ho is synonymous with the mega-hit Slumdog Millionaire.

(Photo Courtesy: YouTube)

Telling Double Standards

Honoured with the Padma Bhushan, besides being the most bankable of his ilk, it is quite inexplicable for Bollywood to place him in a deep-freeze without a hidden agenda.

At one time, the most hallowed names from Mumbai’s drama factory had no qualms about camping in a hotel for months near his recording studio till their soundtracks were painstakingly recorded, mixed, remixed, and ready to go.

If Anu Malik, son of veteran music director Sardar Malik, had forsaken Islam to state that he only believes in the tenets of the Arya Samaj, besides proclaiming that “music is my only religion”, that ‘conversion’ would have been more than acceptable.

To return to Rahman, he has also attributed the change to a shift in power within Bollywood, where decisions are largely made by corporate groups and music labels rather than by directors or artists.

Predictably the backlash has been knee-jerk. The usually fair-minded columnist Shobhaa De, has termed his remarks as "dangerous.” Few have defended his perspective.

The cake—and bakery—comes from the ubiquitous actor-politician Kangana Ranaut who took to Instagram to huff, “Dear @arrahman ji, I face so much prejudice and (im)partiality in the film industry because I support a saffron party yet I must say I have not come across a man more prejudiced and hateful than you.” Hateful!

Her grouse is, “I desperately wanted to narrate my directorial (film) Emergency to you. Forget narration, you even refused to meet me. I was told you don’t want to be part of a propaganda film. Ironically, Emergency was called a masterpiece by all critics. Even opposition party leaders sent me fan letters appreciating the film for its balanced and compassionate approach but you are blinded by your hate. I feel sorry for you #emergency.”

Wow, what do you say to that. 

Is Bollywood Shooting Itself In The Foot?

To prevent a hornet’s nest, Rahman has clarified on social media that India is his home and inspiration, and he didn’t intend to hurt anyone's feelings, reiterating his commitment to music that unites. 

Incidentally, Rahman is not alone. Senior lyricist and scriptwriter, Javed Akhtar, faced a boycott from the leading music label bosses after his key role in the Copyright Amendment Act, to secure fair royalties for lyricists and composers, leading to his near-eclipse as a lyricist.

To this, he had laughed, “It doesn’t matter if I don’t get offers anymore.”

A still from Rahman and Rakeysh Omprakash Mehra's cult classic Rang De Basanti

(Photo Courtesy: YouTube)

And so who knows, how many have had to face such ‘professional distancing’? Javed Akhtar and AR Rahman have spoken up.

And if you ask me, Bollywood needs them, rather than the other way around, if music soundtracks are to get out of the morass they are stuck in.

Today remixes of yesteryear hits and the practice of hiring four to five different composers have become the norm. And, for sure, this bubble will burst sooner than later.

(Khalid Mohamed is a film critic, film director and screenwriter. He has written novels and biographies and is currently working on his memoirs of Bollywood.)