MM Keeravani, the first Indian composer to win an Oscar for an Indian production, offered a deep dive into his illustrious career and unique musical philosophy. He explained that his approach is profoundly shaped by the timeless power of ragas, which he believes are essential for innovation.
He illuminated how this ancient melodic framework underpins his creative process, stating that while “many contemporary composers limit themselves to just two or three common scales,” the “vast heritage of Indian music offers an innumerable wealth of scales, or ragas.” For Keeravani, the exploration of these intricate structures is nothing short of transformative. He described how, when he delves into a different raga, “it’s like a whole new world opens up,” allowing him to constantly “generate fresh ideas and innovative notes,” ensuring his compositions remain vibrant and original.
The conversation shifted to his recent endeavours, particularly the highly anticipated Hari Hara Veera Mallu, starring Pawan Kalyan. Keeravani detailed the film’s extensive timeline, noting it has been a “five-year odyssey” since its inception. He recounted how his musical journey with the project began with director Krish Jagarlamudi and is “now culminating with Jyothi Krishna.”
Keeravani spoke highly of Jyothi Krishna’s directorial acumen, praising his “decisiveness and commitment.” He highlighted Krishna’s hands-on approach, emphasizing how he “personally oversaw editing, graphics, and music, often at the cost of sleep and food,” showcasing a remarkable dedication to the craft. Keeravani also expressed immense respect for veteran producer A.M. Rathnam, describing him as a “controversy-free figure with a talent for lyric writing,” and acknowledging his collaboration with lyricist Rambabu and Nidhhi Agerwal’s “wonderful performance.”
A, particularly compelling, anecdote from Hari Hara Veera Mallu involved the film’s star, Pawan Kalyan, who, also serves as the Deputy CM of Andhra Pradesh. Keeravani shared Kalyan’s sense of responsibility. He recalled composing an item song for the film, titled “Tara Tara,” which, as is often the case with such numbers, initially contained “objectifying lyrics.” However, after reviewing the track, Kalyan immediately interjected, stating, “No, I’m in a more responsible position now. Please remove these lyrics and rewrite them.” Keeravani readily “gladly obliged,” seeing it as a powerful reflection of Kalyan’s “conviction and deep sense of social responsibility.” This experience, he noted, solidified his profound admiration for Pawan Kalyan, whom he uniquely describes as the “embodiment of ‘Righteous Fury’.”
He elaborated on this intriguing concept, explaining that “anger is a natural human emotion, but when that anger is channelled for the betterment of society, when it’s against injustice or for a greater good, it transforms into something righteous.” According to Keervani this film was “tailor-made for him,” likening Kalyan to “a wildfire that simply doesn’t stop, no matter how much rain pours down.”
Given that this marks their first collaboration, Keeravani admitted to having poured “immense effort” into the music, expressing his genuine hope that “the audience will embrace the film when it releases on June 12.”
Looking ahead, Keeravani offered a glimpse into his next colossal project, SSMB29, a highly anticipated collaboration with his long-time creative partner, Rajamouli, and superstar Mahesh Babu. He described this venture as “his most challenging project yet,” a testament to its scale and ambition. Keeravani confidently stated that he “genuinely believed that a movie like this has never been made before,” and that “the challenges seem to escalate with every new film, pushing me to constantly create new sounds and explore uncharted musical territories.”
Specifically, Rajamouli tasked him with crafting a “completely new sound for SSMB29,” a directive that “keeps me on my toes.”
The fact of “composing for a Mahesh Babu film,” he admitted, “adds another layer of pressure,” given the immense expectations surrounding the star. Despite the difficulties, he described the musical journey for SSMB29 as an “adventure,” and “while the music for this film is undeniably difficult, it’s also an incredibly interesting journey.”
Despite his recent Oscar win, Keeravani maintains a grounded perspective on its impact on his career. “Oscar is not a criterion or a factor for getting work,” he informed.
For him, awards are an “additional honour,” but it is the “competence” — not accolades — that truly secures new projects. He emphasized that “competence is distinct from honour and is the sole driver of work.”
Keeravani also passionately elucidated on the broader purposes of music in life and culture. “Music is far more than just singing and dancing.” He elaborated on its multifaceted roles, citing examples such as how “music plays a vital role when we sing a national anthem, uniting people, or when students say a prayer in school, bringing a sense of discipline and calm.” He continued, describing how “music can soothe you into calmness when you’re tired; a gentle lullaby can put you to sleep.” Beyond these calming effects, he explained how music “can evoke profound romantic feelings, and conversely, it can provoke anger or stir up societal dissent.” Ultimately, he concluded that “music is an incredibly powerful tool in our culture, capable of touching every aspect of human emotion and collective experience.”
Reflecting on his legendary and remarkably enduring collaboration with Rajamouli, which spans not just decades but, as he revealed, even precedes Rajamouli’s childhood, Keeravani attributed its success to a deep and organic rapport. He light-heartedly shared that “knowing Rajamouli since he was two years old” fostered an unparalleled level of understanding. This profound connection, he explained, allows their creative synergy to be “even more profound” on blockbusters like Baahubali, Eega, and Magadheera, enabling a seamless and intuitive creative flow that is rarely found.
Keeravani also reminisced fondly about his significant impact on Hindi cinema, where he composed under the moniker MM Kreem. He specifically credited Mahesh Bhatt as being “pivotal” in shaping his Bollywood journey, which began with the 1994 film Criminal and its timeless love ballad, “Tum Mile Dil Khile.” Their creative partnership continued with Bhatt’s 2008 directorial Zakhm.
Keeravani described Bhatt as “a philosopher by nature,” whose profound insights provided “constant inspiration and guidance” for his compositions. He emphasized that Bhatt’s unique approach involved “transforming philosophical ideas into musical notes,” a groundbreaking method that diverged from the traditional role of directors in music production at the time.
Currently, Keeravani is immersed in composing for Anupam Kher’s much-anticipated return to direction, Tanvi The Great. The early signs are promising, with Keeravani noting that Kher is already “going gaga about the music.”
This new venture marks an exciting chapter for the maestro, and it seems Keeravani is embracing this phase, confidently asserting that it’s time for him to fully “shed the MM Kreem” moniker and embrace the very “crème de la crème” of his unparalleled craft.
