A lesser-known person in indian history is the formidable warrior Chhatrapati Sambhaji Maharaj, who was Shivaji's son. Seldom have major films examined his ruthless death at the hands of aurangzeb and his persistent resistance. Chhaava is a magnificent homage that at last does his tale credit. But a lot of attention is being paid to A. R. Rahman, but not for the right reasons.
Rahman's compositions for Chhaava have generated a great deal of controversy. His background music and melodies, according to many, are wholly unrelated to the maratha period and deprive the movie of its historical authenticity. Audiences are perplexed by the incorporation of electronic components, modern rhythms, and Arabic and Middle Eastern influences. The music is perceived as a significant diversion that falls short of capturing the feelings of the time, rather than heightening the intensity of Sambhaji's trip.
Others think that MM keeravani, who composed a thrilling music for Baahubali, would have been a far better fit to manage Chhaava's grandeur. Fans of ARR, however, are retaliating, claiming that criticism of him is nothing new. They contend that his adaptability across languages and genres demonstrates his intelligence and feel that his experimental character is being unfairly singled out.
He will likely be subjected to similar criticisms when his soundtrack for Nitesh Tiwari's Ramayana is released, according to others, who have even labeled the response as religiously motivated. Despite the Baahubali craze, they contend that keeravani is frequently monotonous and lacks Rahman's inventiveness. The issue yet stands: did he remove the essence of this historical epic, or was ARR a wise decision? Or whether keeravani could have provided Chhaava with the throbbing BGM it so well merited.
Rahman's compositions for Chhaava have generated a great deal of controversy. His background music and melodies, according to many, are wholly unrelated to the maratha period and deprive the movie of its historical authenticity. Audiences are perplexed by the incorporation of electronic components, modern rhythms, and Arabic and Middle Eastern influences. The music is perceived as a significant diversion that falls short of capturing the feelings of the time, rather than heightening the intensity of Sambhaji's trip.
Others think that MM keeravani, who composed a thrilling music for Baahubali, would have been a far better fit to manage Chhaava's grandeur. Fans of ARR, however, are retaliating, claiming that criticism of him is nothing new. They contend that his adaptability across languages and genres demonstrates his intelligence and feel that his experimental character is being unfairly singled out.
He will likely be subjected to similar criticisms when his soundtrack for Nitesh Tiwari's Ramayana is released, according to others, who have even labeled the response as religiously motivated. Despite the Baahubali craze, they contend that keeravani is frequently monotonous and lacks Rahman's inventiveness. The issue yet stands: did he remove the essence of this historical epic, or was ARR a wise decision? Or whether keeravani could have provided Chhaava with the throbbing BGM it so well merited.
