The Death of the "Musical Screenplay": An alternate view of the AR Rahman BBC Interview Controversy

Priya Parthasarathy
Jan 21
3 min read

In a recent candid conversation with the BBC, A.R. Rahman—the man who fundamentally rewired the DNA of Indian film music—remarked on a visible slowdown in his project pipeline. He attributed this to "vested interests" and a shifting industry power dynamic.

While the internet quickly descended into debates about "industry camps" and "nepotism," the reality is likely far more structural and, frankly, more tragic.

The issue isn’t that A.R. Rahman has lost his touch; it’s that modern cinema has lost its capacity for "High Maintenance" genius.

The Architect vs. The Decorator

In contemporary filmmaking, music has been demoted from a structural pillar to interior decoration. Most directors today approach music as an afterthought—a "vibe" to be added in post-production to help a sequence trend on social media.

A.R. Rahman, by contrast, is an architect. He doesn’t just provide a track; he creates a sonic world. His process requires time, immense production budgets, and, most importantly, a narrative space that demands his level of complexity. When a filmmaker is looking for a "quick hit" for a 30-second reel, a composer of Rahman’s stature becomes "unnecessary" not because of a lack of talent, but because the canvas has shrunk.

A Lesson from the Masters: The "Andhaadhi" of Moondru Mudichchu

To understand the "Musical Screenplay" we have lost, we must revisit K. Balachander’s 1976 masterpiece, Moondru Mudichchu.

In the song "Vasantha Kaala Nadhigalile," composed by the legendary M.S. Viswanathan and written by the "Kaviyarasu" Kannadasan, we see a level of collaboration that is almost non-existent today. The song is written in a classical Tamil poetic form called Andhaadhi—where the final word of one line becomes the starting word of the next.

This wasn't just a display of lyrical gymnastics. It was a screenplay tool.

Character Intelligence: Earlier in the film, the lovers (Kamal Haasan and Sridevi) use this poetry game to signal their intellectual and romantic compatibility.
Sonic Pacing: MSV’s arrangement—unhurried, rhythmic, and minimalist—mimics the steady, deceptive calm of a boat ride on a lake.
The Narrative Pivot: The song is the scene. It isn't a break from the story; it is the climax. When tragedy strikes mid-verse, the "Andhaadhi" loop is completed by the antagonist (Rajinikanth), who uses the pre-established poetic structure to announce a dark shift in the plot.

The music, the lyrics, and the camera were in a three-way conversation. You couldn't remove the song without the entire third act of the movie collapsing.

The Fast-Food Transition

Can we imagine a director today—rushing to meet a streaming deadline or focusing on "fast cuts"—having the patience to curate a song that is so deeply intertwined with the script?

The "High Maintenance" label often attached to Rahman is simply a reflection of his refusal to be a "fast-food" composer. If a director doesn't write a scene that requires a soul, they will naturally find a composer who doesn't insist on giving it one.

The Path Ahead: Beyond the Silver Screen

The industry might be moving toward a "plug-and-play" model where music is a commodity, but that doesn't mean the era of the maestro is over. It just means the medium must change.

If mainstream cinema no longer has the "patience" for the intricate layers of an Isaippuyal, then the onus is on the composers to find new stages. Whether through independent long-form albums, immersive musical theater, or global collaborations, the depth of a "Vasantha Kaala Nadhigalile" deserves a space that isn't dictated by an algorithm.

The AR Rahman BBC Interview Controversy focuses on the reasons for Rahman's lack of opportunity but the slowdown isn't actually a sign of Rahman's sunset; it's a wake-up call for the industry. Cinema isn't just about moving pictures—it's about the harmony between what we see and what we feel. And if we lose the architects, we are left with nothing but empty rooms.

Love diving deep into the nuances of Tamil film music?

If you enjoyed this analysis, you’ll find a much more detailed breakdown—including the specific musical transitions and visual cues of Vasantha Kaala Nadhigalile—on my YouTube channel. Let’s keep the conversation going:

Watch the 'Oru Naal Podhuma' episode here