‘Chinese Whispers’ & Power Shifts: AR Rahman Sparks Bollywood Debate Over ‘Communal’ Bias; Stars React
MUMBAI — Legendary Oscar-winning composer A.R. Rahman has ignited a heated debate across the Indian film industry after suggesting that “communal whispers” and a shift in power dynamics have led to a decline in his Bollywood projects over the last eight years.
In a candid interview with the BBC Asian Network this week, the “Mozart of Madras” opened up about the changing landscape of Hindi cinema, claiming that decision-making has moved from creative visionaries to corporate entities and non-creative “power players.”
‘It Comes as Chinese Whispers’
Rahman, who redefined the sound of Indian cinema in the 1990s with hits like Roja and Rangeela, noted that while he hasn’t faced direct discrimination, he has sensed a subtle exclusion.
“Maybe in the past eight years, a power shift has happened and people who are not creative have the power now,” Rahman stated. “It might be a communal thing also… but it is not in my face. It comes to me as Chinese whispers—that they booked you, but the music company went ahead and hired their five composers.”
The composer emphasized that he no longer “chases” work, preferring to let his sincerity attract the right projects. He also reflected on his early days, noting it took until the 1999 film Taal for him to truly feel like a Bollywood “insider.”
Industry Pushback: “A Dangerous Comment”
Rahman’s remarks have not gone unchallenged. Prominent voices in the industry have stepped forward to defend Bollywood’s secular credentials, calling the allegations of communal bias unfounded.
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Shobhaa De: The noted novelist and columnist slammed the remarks as “dangerous,” telling reporters, “I have been observing Bollywood for 50 years, and if I have seen any place free of communal tensions, it is Bollywood. If you have talent, you get work. Religion is not a factor.”
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Shaan: The popular playback singer offered a different perspective, citing his own lack of recent film work as a matter of changing trends rather than bias. “I am standing right here as an example. Even I don’t get work at times, but I don’t take it personally. I don’t think there is a communal or minority angle in music,” Shaan remarked, pointing to the decades-long dominance of the “Three Khans” as proof of the industry’s inclusivity.
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Javed Akhtar: The veteran lyricist dismissed the narrative, suggesting that Rahman’s global stature and busy international schedule might simply make producers hesitant to approach him.
The ‘Chhaava’ Controversy
The interview also touched upon Rahman’s work in the upcoming film Chhaava, which has faced criticism for allegedly “capitalizing on divisiveness.” Rahman defended his involvement, stating that while the film’s subject is intense, his focus was on portraying bravery.
“I told the director, ‘Why do you need me for this?’ and he said only I could do it,” Rahman revealed, adding that he trusts the audience’s “internal conscience” to distinguish between truth and manipulation.
What’s Next for the Maestro?
Despite the friction, Rahman’s slate remains packed with high-profile global and domestic projects. He is currently co-composing the score for Nitesh Tiwari’s massive Ramayana trilogy alongside Hollywood legend Hans Zimmer, and is also attached to Hansal Mehta’s Gandhi and Aamir Khan’s Lahore 1947.
For many, Rahman’s comments highlight a growing tension between the “old guard” of creative-led filmmaking and the new, data-driven “corporate music” culture that dominates Mumbai today.
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