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From Rajinikanth and Shah Rukh Khan to Vijay and Dhanush: Anirudh Ravichander is the fanboy every superstar needs | Tamil News
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Cinema is an amalgamation of diverse art forms, with music crucially responsible for establishing the right mood and heightening the emotions portrayed on the screen. The term music need not be limited to traditional boundaries, as even ambient sounds can rhythmically enhance the visuals, providing a comprehensive and immersive experience.
This holds particularly true for Indian movies, where songs and music are not only integral components of the narratives but also shape the pace of a project, building anticipation well before its release. And the song that notably initiated this trend was Anirudh Ravichander’s “Why This Kolaveri Di” from the 2012 Tamil movie 3. Despite not being a musical extravaganza, WTKD — Anirudh’s debut work — captivated millions with its Tanglish lyrics and energetic composition, creating a sense of relatability among the youth.
The song provided Anirudh with one of the biggest debuts in the film industry, and he has continued to flourish ever since. Although known for his expertise in high-energy dance numbers, Anirudh has also displayed his skill in crafting soulful melodies. In short, for every “Maari Thara Local”, he has also created a “Nee Paartha Vizhigal”.
Amidst all this, it seems that his skill in creating impactful background scores and title and theme tracks, which are frequently used throughout the movies, is currently the talk of the town. From Superstar Rajinikanth and Bollywood’s Baadshah Shah Rukh Khan to ‘Thalapathy’ Vijay and Dhanush, Anirudh has delivered exceptional BGM to many industry heavyweights, which have indeed become essential components of their respective stardoms.
In a recent interview with Film Companion, Anirudh discussed how, when developing songs or background tracks for superstars, he approaches them first as a fan and then as a musician, aiming to strike a balance between the two perspectives. This approach is clearly reflected in the majority of the BGM and title tracks he has composed for big stars, explaining why they continue to resonate with audiences long after the movies have ended. For every star, there is a distinctive feature or quality that their fans adore the most, and Anirudh adeptly leverages this aspect to create impactful BGM.
In Dhanush films
One of Anirudh Ravichander’s earliest notable massy background tracks was featured in Velraj’s 2014 Tamil movie Velaiilla Pattadhari, starring Dhanush in the lead role. While Dhanush is known for his acting skills, his swagger is also something that deeply resonates with his fans. Given his relatable physique, resembling that of many Dravidians, his display of swagger holds a special significance for them. When Anirudh composed the energetic background track for this film, he cleverly considered this aspect, allowing the actor ample space to showcase his confident stride. Without opting for a tune that is much larger-than-life, Anirudh relied on each beat in the tune, highlighted by the use of a bass drum, ensuring that the slow-motion moments vividly emphasise the actor’s swagger.
The same is evident in Balaji Mohan’s Dhanush-starrer Maari (2015) as well, although with a touch of exuberance, mirroring the essence of the main character. The “Indha hey indha hey” vocal bit in the song “Maari Thara Local”, the tune of which is recurrent throughout the movie in massy moments, also banks on Dhanush’s swagger without portraying him as an invincible star like Rajinikanth.
In Vijay and Ajith films
On the other hand, when it comes to Vijay’s BGM, Anirudh employs a distinctive style that resonates with his stardom and immense popularity. In the theme song of AR Murugadoss’ Kaththi (2014), following the sound of clashing knives, a chorus can be heard in the background, enthusiastically cheering with the word “hey!” This underscores Vijay’s substantial fan base and emphasises the enthusiastic welcome he receives when he appears on-screen. Each background track created for Vijay in the movie maintains a higher tempo with a similar chorus in the background cheering for him, akin to Rajinikanth’s in Baashha, illustrating the authority with which he enters a room and how his presence immediately alters the atmosphere, reflecting the admiration audiences hold for him.
In Lokesh Kanagaraj’s Master (2021), Anirudh also incorporates more vocal elements, in addition to the cheering chorus, with carefully crafted and placed words that resonate with Vijay’s ‘Thalapathy’ status. The “they call me master, maatrangal varum faster” and “Anna pannum athiradi, vathi yaaru, Thalapathy” vocal bits of Arivu further emphasise this. Although Nelson’s Beast (2022) features a more stylish background track, in line with the persona of Vijay’s former RAW field operative character, it also employs the chorus cheer in the backdrop.
Though Yuvan Shankar Raja is currently the go-to composer for Ajith Kumar’s films, Anirudh collaborated with him in two films — Vedalam (2015) and Vivegam (2017), helmed by Siva. His massy background tracks in both movies incorporate a higher number of instruments and feature a more pronounced Western influence, perfectly aligning with Ajith’s stylish persona. The tracks included intense build-up bits, establishing the mood and leading up to the main sections, which were notably more stylish compared to his other compositions.
In Kamal Haasan’s Vikram
Anirudh Ravichander’s understanding of a star’s adoration and his initial approach to each star as a fan, are prominently reflected in the manner in which he has crafted background tracks for Kamal Haasan and Rajinikanth.
In Lokesh Kanagaraj’s Vikram, starring Kamal Haasan in the lead role, Anirudh departs from his previous styles and presents Kamal with tracks that exude an aura, perfectly complementing his stature as ‘Aandavar‘ (God or leader, colloquially). The title track of Vikram opens with the resonating sounds of the shankha (conch shell) and bells, akin to those heard in temples. Anirudh’s style of integrating lyrics and vocal elements into BGM is apparent here too, and the first word we hear here is ‘Nayakan‘, the title of one of Kamal’s most acclaimed movies (1987) directed by Mani Ratnam.
As the track progresses, the composer skillfully incorporates the sound of the sitar, adding an elegant and refined touch that complements Kamal’s image in the hearts of fans. By skillfully incorporating the central character’s name “Vikram” into the hook, the composer ensures that the focus remains firmly on Kamal, coupled with a touch of grandeur, underscoring that he is more than just an ordinary superhero but ‘Aandavar‘ himself.
In Rajinikanth films
When it comes to Rajinikanth, Anirudh enters a different realm, portraying him as the all-encompassing, enduring Superstar who has dominated the industry for as long as one can remember. In all three films where they collaborated — Karthik Subbaraj’s Petta (2019), AR Murugadoss’ Darbar (2020), and Nelson’s Jailer (2023) — Anirudh presents Rajini not only in line with contemporary sensibilities but also by evoking the essence of the vintage Superstar.
While employing modern sound equipment, Anirudh also incorporates in Petta’s BGM instruments like the trumpet, oboe, nadaswaram, parai and dhol to evoke a sense of nostalgia for the Rajini of yesteryears that audiences grew up admiring, thereby providing them with the same zing.
On the other hand, in Darbar, Anirudh Ravichander takes the legendary theme track from Suresh Krissna’s Annaamalai (1992), composed by Deva, and recreates it in a new-era style, skillfully blending the classic and contemporary Rajinikanth styles, thus once more providing audiences with the same enthusiasm. He also includes Rajini’s sobriquet “Thalaiva” (leader) here, thus ensuring that the audiences are immediately reminded of who he is.
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His worship for the Superstar reaches its peak in Jailer. The track “Hukum – Thalaivar Alappara” begins in a way akin to heralding the arrival of the king and features Rajini’s voice, his hukum (order), and iconic laughter in the background throughout. With full-fledged lyrics, penned by Super Subu, celebrating and encapsulating everything he embodies, from his longstanding reign in this realm to his unparalleled authority and even depicting people’s willingness to sacrifice their lives for him, the track ebulliently narrates the mighty history of Superstar Rajinikanth, solidifying his title as the ‘Thalaivar’ for eternity.
In Shah Rukh Khan’s Jawan
In Jawan, Anirudh Ravichander adopts a completely different approach, understanding well that Shah Rukh Khan’s fame extends beyond India or a few countries, recognising him as a global star known for both mass appeal and emotional depth. By skillfully incorporating an English rap segment, written and performed by Raja Kumari, in the title track, Anirudh successfully breaks boundaries.
While the composer also includes the star’s voice, it remains in line with the film’s narrative, portraying the story of a soldier, and doesn’t treat SRK as just another superstar. The effective use of an electronic rhythm set further enhances this depiction.
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