“Bombay Theme” in particular has had a surprisingly successful trajectory for an instrumental piece.
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It would also become the best-selling soundtrack in Indian film history. The scope of the album solidified Rahman as the preeminent South Asian film composer for the next two decades, and arguably the one with the biggest influence on Western music. The tunes would come eventually, including a bombastic synth-pop number, a lovesick ballad, and a winding qawwali-inspired song. Rahman: The Spirit of Music, he told interviewer Nasreen Munni Kabir that the song, which opens with a sinuous bamboo flute singing out over a churning underbelly of synths and strings, “made a musical statement about non-violence…`and encouraged us to see the inner self rather than the outer.” When Ratnam first heard the song, he was silent for a few minutes and then jokingly asked, “Where are the tunes?” Instead, he surprised Ratnam with an instrumental piece he called “Bombay Theme.” In A. As the deadline passed, Rahman didn’t have a single song ready. Ratnam gave Rahman a two-week deadline to make all the music for the complicated film. The film ends with a cry for peace from Shekar, a reunion of the couple and their children, and the formation of a “human chain” of Hindus and Muslims who dramatically throw down their weapons, clasp hands, and choose to live in harmony.
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They move to Mumbai, where they raise twins and enjoy a blissful life together until riots wreak havoc on the city and separate their family. Into this world, Bombay brought the story of a Hindu man, Shekar, who falls in love with a Muslim woman, Shaila Banu. It was widely considered one of the worst instances of religiously motivated violence in Mumbai in the last 50 years. The riots started in December 1992 after Hindu fundamentalists burned down the Babri Masjid in Ayodhya, and were further spurred by leaders of the Hindu supremacist Shiv Sena party in Mumbai. It was within this context that Ratnam, a Hindu filmmaker, decided to make a film that suggested love could triumph over all.Īt the time, Hindu-Muslim tensions in India were escalating higher still when gruesome riots in Mumbai left over 1,100 people dead, the majority of them Muslim.
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Though their ideologies were born before Partition, the Hindu elite in India formed a new national identity based in Hindu supremacy in the decades that followed. Nearly 50 years earlier, the South Asian subcontinent achieved independence from British rule and underwent a traumatic process of Partition, dividing into Muslim-majority Pakistan and Hindu-majority India. Rahman to make the music for his film Bombay, he said it would be one of the rare Bollywood films to tell a story about a Hindu-Muslim romance, a union that was, and often still is, widely considered taboo. Rahman’s improvisations while scoring BGM and additional surprise tracks (like "Kaatru Kuthirayile" in Kaadhalan) made these repeated watches a necessity, even if you have bought or ‘recorded a copy’ of the album.In 1993, when the Indian director Mani Ratnam recruited the then-27-year-old composer A. In those years of audio cassettes and compact stereo players, the only way to listen to a Rahman track in all its glory was to buy a ticket in the theatre.īuying tickets for back-to-back shows in a theatre that has been newly upgraded to surround sound and grabbing the middle row seats was the norm among friends, whenever a big Rahman musical released.īe it Thiruda Thiruda, Gentleman, Kaadhalan, Bombay or Rangeela, there was a large group of teens and youngsters who used to get into the theatre only to listen to the songs we would leave as soon as the last song finished playing. Those who were in their teens at the time AR Rahman broke into filmdom with his unique flavour of melodies and foot-tapping beats would know what that really means. The nineties were golden years of Tamil film music.