RRR has captivated audiences worldwide, in no small part due to the most arresting song-and-dance number to hit the big screen in years. M. M. Keeravani composed the music that propels S.S. Rajamouli’s stunning epic that follows the fictional friendship of two Indian revolutionaries and their fight against British colonialism. They don’t just fight against oppression with words and weapons, but with music as well. Bheem (N. T. Rama Rao Jr.) and Raju (Ram Charan) turn a stuffy British garden party into a soaring performance, with pounding drums and an infectious melody. “Naatu Naatu” soon leaped off screens and enchanted the world, leading to widespread acclaim, TikTok challenges, and various awards, including the Oscar for Best Original Song.
Jael Peralta spoke with the composer to discuss his process, the unique qualities of “Naatu Naatu” as a song, and what it feels like to make audiences get up and dance in the middle of a theater.
Film Cred: I think it’s fair to say that “Naatu Naatu” is such a one-of-a-kind song compared to all of the other songs from other films in the awards conversation, correct? Nothing else sounds like it.
Keeravani: Well, “Naatu Naatu” is unique because it’s based on a beat that we call a 6/8 signature. This beat is very unique to Indian songs, particularly South Indian songs. The song focused on uplifting in the film RRR. It plays a big role in getting attention from the West. That beat is playing a unique role in the song.
[Imitates drum beats] That’s the beat!
Film Cred: It’s so interesting. As you were creating that beat, what kind of feelings did you have in mind? You mentioned you wanted people to feel uplifted. What else were you thinking about as you put everything together?
Keeravani: We’re used to composing many songs in that particular beat. But this song, in the end…it leads the dancers to a position where they have to showcase their stamina until they’re completely exhausted. That’s kind of an interesting spot. It comes as a challenge for the composer to provide music for it. My [music] arranger then came up with this idea of slicing the voices and adding a non-stop loop in the coda with the mandolin instrument. That worked out very well and that’s the highlight of the song, apart from the voices provided by Rahul [Sipligunj] and [Kaala] Bhairava. The coda plays a major role in the song. The coda is the end part of the song.
Film Cred: I know different musicians all have different processes. For you, was this melody something you came up with as you were working on this film, or was this a melody you had already kind of been thinking about?
Keeravani: No, this melody was not there before. It was created once we started working on RRR.
Film Cred: There are so many distinct elements within “Naatu Naatu,” what’s the element you’re most proud of in the song?
Keeravani: For me, the best element of the song comes from the choreographer Prem Rakshith. The way he composed the steps for the song were unique and never-seen-before kind of steps. And everybody — on TikTok, and other platforms, locally and abroad — everybody is trying to imitate those steps. I give major credit to my choreographer, his job is commendable.
Film Cred: I also wanted to ask you about that. I’m sure you’ve seen videos, not just of people in India getting up and dancing in the theaters, but all over the place. How does that feel to see that happen internationally?
Keeravani: When people are dancing — getting up in the theaters and dancing, though I can’t dance — my heart was dancing with joy! I’m finally feeling very happy and contented with my song receiving this kind of applause and appreciation. The feeling is very great.
Film Cred: You have such a vast career, you’ve worked on many different films. How do you keep that spirit going, constantly creating new sounds? How does that work for you?
Keeravani: Interesting question…I’ve been working for the last 35 years, or something. The thing that keeps me going and motivates me on and on is the unavailability of a particular artist, musician, or lyricist, maybe. If that happens, then I say: ‘Okay, something is not available. Why should that something be indispensable for me?’ I cannot depend on any particular element in order to go on. Of course, I’m the kind of person to wait for some musician, or some instrumentalist, some singer, if I feel it’s worth waiting. I can wait any time. I can pay any amount for the particular artist, but not always. Sometimes I feel like, ‘Yeah, I should not wait for anything.’ I’ll live for a maximum of 100 years. That’s your life. The human being’s life is 100 years…the maximum I’ll live is 100 years. Why waste time? Why wait for somebody? So, I should take it as a challenge and I should look for an alternative, a substitute. If I cannot get a violinist, then I’ll want to change my piece to a flute. But, of course, there will be a compromise. Still, I want to make the best of that compromise. I want to somehow make it sound better. This betterment comes from challenges, unavailabilities, and sometimes insults, also. When I’m insulted, I bounce back. I try to prove myself with my work even harder. The insults, the disadvantages, the drawbacks, and the unfavorable situations, those are the best things. Those are the things that keep the fire alive in you and helps you come this far. I committed myself to 34 years of my career and I’ll work more, with more energy, and more motivation given to me by these prestigious awards.
Film Cred: That’s wonderful! One final question. Your work is so transcendental, no matter the culture of your audience. I was wondering: are there any influences in your work that come from outside of your culture?
Keeravani: Yeah! I was listening to world music in my childhood, all from the radio. I listened to every composer, and I watch a lot of movies. I get inspired. I’m like a student. I learn from them. I learn techniques and use them in my own style, it’s a constant process. That’s what I do!
