Humma Humma or Chaiyya Chaiyya, they’re all phonetic in some way, so we can get by without being region specific, ”Rahman said in the same chat as he discussed the pan-Indian nature of his music. This is one of the reasons we settle for phonetics. So the next movie, Bombay was such a challenge. “We didn’t even know the music was going to work in Hindi, but it was also very important in Hindi. Roja’s music was a hit, not only in Tamil, but also in Hindi, and she took Rahman by surprise.
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I understood, plus I thought it was absolutely fantastic and it was just going to improve my visuals, ”he said. So I wasn’t worried if anyone would get it.
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During a conversation with The Times of India in 2017, Mani Ratnam was asked if the unique nature of Rahman’s music made him wonder, “What if people don’t get it?” “The movie was called Roja, it was set in Kashmir and the music it played felt like this winter – this cold of that place. When Mani Ratnam’s Roja came out in 1992 the film was a huge success but what captivated audiences was its music, it was something they had never heard before, and it was by a composer.
We often hear that music breaks language barriers and in a country like ours, where dialects and languages change with every city, there can be no better unifying factor than music, but in some way on the other hand, popular culture woke up much later than expected.
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