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How A. R. Rahman Created the Dil Se Soundtrack

Mani Ratnam gave A. R. Rahman a clue instead of the story: seven stages of love. Rahman explains how that brief shaped Dil Se’s songs and sound.
Opened Runtime3 min Written byDocumentaryTube Team
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A. R. Rahman says Mani Ratnam did not explain the story of Dil Se before asking him to compose. Instead, Ratnam offered a clue: the film revolved around the seven stages of love, with a Sufi dimension. Rahman built “Satrangi Re” around that idea, then developed the rest of the soundtrack from the same brief.

Mani Ratnam’s clue became the soundtrack’s starting point

In a 2023 anniversary interview with Nandini Ramnath for Scroll, Rahman recalled that Ratnam withheld the plot but gave him a musical and thematic direction: “Mani Ratnam refused to tell me the story, but he said, I will give you a clue. This one is about the seven stages of love. It was very Sufi.”

Ratnam asked for a song about those stages. Rahman said, “That became Satrangi Re. Everything else came from that brief.” The song was unusually quick to take shape: Rahman recalled that it came together in about ten minutes. That is his recollection of the writing process, not a measured production-time figure.

Ideas arrived at different speeds and through collaboration

“Satrangi Re” set the concept in motion

Rather than treat the songs as separate assignments, Rahman started with the central idea of love progressing through stages. Scroll describes “Satrangi Re” as expressing Amar’s obsession and foreshadowing the relationship’s tragic outcome. Its role in the film therefore reaches beyond introducing a theme: it helps carry the emotional story.

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“Ae Ajnabi” changed in the mix

Rahman said “Ae Ajnabi” initially seemed too soft to him. It blossomed when rhythm and other elements came together in the final mix. Its plaintive character gives the song a different dramatic purpose from the more optimistic “Chaiyya Chaiyya.”

Gulzar helped shape “Dil Se Re”

Rahman credited lyricist Gulzar with suggesting the “meethi re” refrain; Rahman then proposed “Dil Se Re” as the title. He also said the tune had been considered for a possible follow-up to his 1997 album Vande Mataram. The interview presents these as recollections of how the material found its way into the film, not as a single linear composition process.

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“Chaiyya Chaiyya” had an earlier life

Rahman said the tune began as “Thaiyya Thaiyya” in a jam session with singer Sukhwinder Singh. He had removed it from Vande Mataram because it did not fit that album, and it later became “Chaiyya Chaiyya” for Dil Se. In the interview, he characterized the finished song as Punjabi pop—a more specific description than treating it as a catch-all example of the soundtrack’s sound.

Language, rhythm and place informed the recordings

Malayalam and Tamil in “Jiya Jale”

Rahman wanted “Jiya Jale” sung in Malayalam, citing the language’s rhythm and sweetness. He described the song as blending Malayalam and Tamil. That choice makes language part of the music’s character rather than simply a matter of translating lyrics.

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Voices and rhythms recorded away from the studio

Rahman recalled recording a rhythm while on pilgrimage in Baghdad and recording children’s voices in Ladakh for the title music. He described recording the background music in stages, including the Ladakhi voices and a sliding guitar sound. These details point to a process that drew on sounds and recordings gathered in different places, rather than one uniform studio palette.

Why the soundtrack is not simply “Persian”

Rahman cautioned against labeling the whole album Persian. He said the seven-stages-of-love idea may be Middle Eastern in origin, but described “Chaiyya Chaiyya” as Punjabi pop, “Ae Ajnabi” as very Indian, and “Jiya Jale” as a Malayalam–Tamil mix. Those distinctions matter: the songs have different languages, musical identities and dramatic functions, while still belonging to one film.

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Rahman’s broader account of working with Ratnam helps explain the balance. In a separate 2017 joint interview with The Times of India, Ratnam discussed choosing music to fit a story, theme or setting while avoiding cliché, and Rahman described a director’s legacy as a spur to new ideas. Those are general reflections on their collaboration, rather than details of the Dil Se sessions.

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The songs and the unreleased background score are different

The familiar song album is not the same thing as the film’s background score. Rahman said the background music was never released as an album, responding to the interviewer’s mention of YouTube playlists devoted to it: “And we never even released it.” A playlist of film music online does not establish that an official standalone score album exists.

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The songs were designed to advance the drama, not pause it. Rahman put the principle this way: “The thing is, how do you move the story forward? The song is not an interruption but a continuation – you need to get that balance and yet make the song enjoyable.”

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