A film as grand as Ramayana deserved music that would stay with audiences for years. Instead, AR Rahman’s music has emerged as one of the most underwhelming aspects of the film. While we are not getting into the finer details of the film’s story and depictions, in this post, we will focus solely on the music.
This is particularly disappointing given the expectations surrounding the much-publicised AR Rahman–Hans Zimmer collaboration. The pairing itself raised expectations, but the final product does not quite live up to the promise. There are even questions about how much of the album is Rahman’s work and how much Hans Zimmer has contributed to the score.
To say that the songs are a major letdown would be an understatement. A spectacular epic turned into a film should have visuals as well as melodies that could create a lasting emotional impact. But much of the music fails to deliver that. Mangal Rang, sung by Arijit Singh, works well, especially alongside Ravana’s imposing entry. However, Jodi Jodi, featuring Ram and Sita’s wedding, and Jai Jai Ram leave much to be desired.
The background score is an even bigger disappointment. When Ravana storms through Kubera’s army and conquers Lanka, the scene demands a powerful, thunderous score. But the background score falls flat, robbing the scene of the thunder and ferocity it desperately needs.
The same problem is evident when Lakshman cuts off Surpanakha’s nose. This is a crucial turning point in the story, eventually setting the stage for the war. Yet, the scene lacks the dramatic musical treatment it calls for. The moment passes without the emotional weight it should have carried.
While most scenes are visually spectacular, several of these sequences suffer from the same problem. The visuals and staging may be impressive, but the music does not always rise to their scale. One notable exception is the sequence in which Ram, Sita and Lakshman leave Ayodhya. The score captures their sadness and the effort to remain brave, making it one of the film’s most effective musical portions.
This film’s pathetic score also brings back memories of Chhaava. Rahman’s music was widely criticised as one of that film’s biggest weaknesses, despite the scale and emotional intensity of its story. After all, he did see that film as ‘divisive‘. An epic like Ramayana offered him another opportunity to deliver a memorable soundtrack. Yet, once again, the music seems to have let the film down.
Did AR Rahman repeat it? Was it a mistake? Or was it deliberate? For a film of Ramayana’s scale, the music should have been one of its greatest strengths. Instead, it has become its most disappointing department.
Subscribe to our channels on WhatsApp, Telegram, Instagram and YouTube to get the best stories of the day delivered to you personally.
