Once known for producing music of the highest calibre, AR rahman experienced a phase in which his songs were not well-received by listeners. music directors such as Thaman, Anirudh, and DSP assumed control. Rahman's music throughout the 1990s and early 2000s was very amazing. His status as a musical genius was cemented by hits such as Roja, Bombay, dil Se, Taal, Premikudu, Gentleman, Indian, Rangeela, prema Desam, Lagaan, Sakhi, Swades, Rang De Basanti, Guru, Ye maya Chesaave, and Rockstar. During this time, his art was praised for its inventiveness and nuance.
But Rahman's work seems lacklustre in the last few years. The effect of films like Lingaa, Mohenjodaaro, 2.0, Bigil, Mersal, and Heropanti 2 was not as great, and even his ponniyin selvan score fell short of the high standards set by his earlier work. His music in these endeavours was frequently criticised for lacking the intimacy and appeal of his previous works.
AR rahman has returned with a bang this year. His ethereally lovely songs for the malayalam film Aadujeevitham have garnered positive reviews, and his involvement in Chamkila has given the picture a fresh perspective. His work on Raayan, which stars Dhanush, has been exceptional most lately. Though opinions on Raayan's directing, plot, and script have been divided, praise for Rahman's music and background score has been unanimity, demonstrating his ability to still write engaging and memorable pieces.
Rahman's latest effort serves as a reminder of his continuing skill as he approaches the 32-year mark in his cinematic career. Fans and reviewers alike are optimistic that Chhava will continue to create music that captures the genius of his work from the 1990s and 2000s, especially with highly awaited projects like Nitesh Tiwari's Ramayana and Chhava on the horizon.
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