Baradwaj Rangan 
<http://www.expressbuzz.com/edition/searchresult.aspx?AliasName=8B0eXUZB\
NCizL0pJ8AWAWQ==>  First Published : 16 Jan 2009 02:23:59 PM IST Last
Updated : 18 Jan 2009 08:37:53 AM IST


"Unbelievable," he said, after his name was announced, after he
sprinted onto the stage and fished around in his pocket for the piece of
paper containing his acceptance speech. That was the exact word in my
mind too. Unbelievable!  We knew our cinema was going around the globe,
but who would have dreamt that one of its shining ambassadors would go
to the Golden Globes. AR Rahman's subsequent words, too, appeared to
have been lifted from my head. "I thought I won't win, so
anyways..." he declared, to much laughter from the audience, and I
knew what he meant — for even if he deserved to win, would voting
vagaries and political considerations take their toll on a relatively
unknown musician from a land far, far away from Hollywood? Thankfully
they didn't — and it was one of those moments we're going to
play in our minds over and over. Thank you Rahman, for winning, for
putting a face to the great tradition of Indian film music. Thank you
Rahman, for acknowledging, on that resplendent platform in Beverly
Hills, all your musicians in Chennai and Mumbai, those nameless faces
that untiringly translate the ideas in a composer's head into
concrete musical form. Thank you, Rahman, for that shout out to the
billion people from India, for raising a toast to the brown face amidst
that sea of white. "Thanks for all your prayers," he concluded,
with characteristic humility, as if it were simply our outpourings of
faith that propelled him to his win, and not his dazzling talents. But
the most touching aspect of Rahman's acceptance speech was surely
when he acknowledged, "Thanks to the almighty God for bringing me
here."  On one level, this is entirely expected, for Rahman's
faith in the divine is no secret. But even otherwise, this invocation of
God (or destiny or providence or fate or however you wish to name the
mysterious forces that shape our lives) is entirely appropriate —
for Rahman has been fortune's favoured child in ways that no Indian
film music composer before him has been.  A look at his miraculous
career appears to indicate that it may not be simple coincidence that he
has always been guided to the right place, and always at the right time.
When Mani Ratnam, the most visible and influential face of Tamil cinema,
was shopping for a new music director, Rahman found himself there. Roja
was a spectacular musical success, not only in Tamil but also Hindi. The
fresh strains of music that emanated from Rahman were, it seemed, just
what a jaded nation wanted — even if it appeared, for a while, that
dubbed versions of his Tamil hits were all that would sneak through to
the north of the Vindhyas.  And then Rahman found himself the chosen one
again, when Ram Gopal Varma made Rangeela, and he got himself a smash of
a Hindi soundtrack — and beginning then, no composer before Rahman
has bridged the tastes and the terrains of the North and the South so
spectacularly.  And the reach of Rahman's sound just kept expanding
— first from South to North, and then from India to the world. When
Dil Se became the first Indian film to break into the UK Top Ten at the
box office, Rahman found himself, again, at the right place, at the
right time. On the strength of Chhaiya chhaiya, Andrew Lloyd Webber
beckoned, London's West End beckoned.  And thus, with his global
sound, Rahman became the global face of Indian film music, the way
Aishwarya Rai is the global face of Indian cinema — the one name
that springs to the lips of people outside the country when they refer
to the curiously fascinating world of Bollywood. But more than anything
else, Rahman has been extraordinarily blessed to arrive as a musician at
a time the world has shrunk beyond recognition. The great composers
before him were, at best, cherished and celebrated within their states
or perhaps, if they worked in the Hindi film industry, within the
country.  But today, thanks to the Internet and a gaggle of news
channels traversing the breadth of the nation in search of stories —
can you imagine a Tamil masala movie named Sivaji, starring a Tamil hero
named Rajinikanth, becoming a nationwide sensation even 10 years ago?
— the world is clued into what is happening at our doorstep, and
when we raised a toast to Rahman, it was always only a matter of time
before the world did too. And Rahman continues to be at the right place
(Bollywood) at the right time (the present day).  He still dignifies the
odd project in Tamil or Telugu, but a significant portion of his
energies are channelled towards gilding the visions of Bollywood
filmmakers who are ambitious, who understand the value Rahman brings to
their films, and who do not mind giving him the space and the time and
the collaborative creative inputs to bring out the best in him.  Where a
composer from an earlier era may have burned out because of having to
conjure up, for the millionth time, a generic love song or a generic
estrangement number, these directors today have kept Rahman's
creative fires burning.  To say that Rahman is extraordinary is to state
the obvious, but his circumstances have been almost as extraordinary.
The talented composers before him couldn't have even imagined
scaling the heights that he has today, and that's surely why Rahman
chose to thank God at the podium. The fates have shaped the story of AR
Rahman into one that rivals the fictional happenings of Slumdog
Millionaire — a young lad is picked out of utter obscurity to become
the beacon of inspiration for millions. At the beginning of the film, a
title card questions the titular underdog's unprecedented success:
"How did he do it? A) He cheated. B) He's lucky. C) He's a
genius. D) It is written." At least in Rahman's case, the latter
appears to be the answer.



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