Chhatrapati Sambhaji Maharaj, a fierce warrior and son of Shivaji, is a lesser-known figure in Indian history. His brutal execution at the hands of Aurangzeb and his unwavering resistance have rarely been explored in mainstream cinema.
Chhaava is a grand tribute that finally did justice to his story. However, A. R. Rahman is getting a lot of attention—albeit for the wrong reasons.
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Rahman’s music for Chhaava has sparked a massive debate. Many feel his background score and songs are completely disconnected from the Maratha era, robbing the film of its historical essence.
The use of Arabic and Middle Eastern influences, electronic elements, and contemporary beats has left audiences confused. Instead of enhancing the intensity of Sambhaji’s journey, the music is being seen as a major distraction, failing to capture the emotions of the era.
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Some believe that MM Keeravani, who delivered an electrifying score in Baahubali, would have been a far better choice to handle the grandeur of Chhaava.
However, ARR fans are pushing back, arguing that criticism against him is nothing new. They believe his experimental nature is being unfairly targeted and claim that his versatility across languages and genres proves his genius.
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Some are even calling the backlash religiously motivated, predicting that he will face similar attacks when his music for Nitesh Tiwari’s Ramayana releases. They argue that Keeravani, despite the Baahubali phenomenon, lacks Rahman’s innovation and is often repetitive.
The question remains—was ARR an inspired choice, or did he strip away the soul of this historical epic? Or if Keeravani could have given Chhaava the pulsating BGM which it truly deserved.
