| Home > Profil Artis |
Nadeem-Shravan
Nama Lengkap/Long Names:
Nadeem Saifi dan Shravan Rathod
Alamat/Addresses:
Nadeem:
77 Coniston Gardens
Kingsbury
London, NW9 0BA
UK
Shravan:
Riya Palace
Lokhandwala Complex
Andheri (W),
Mumbai-400058
INDIA
Tel: 022-636-3266
022-631-9422
Email:
nadeem_shravan_fan@microcan.net
Lain-lain/Others:
 Theirs has easily been the most tumultuous courtship in the
Hindi film industry. They have seen it all - fame, fortune,
mud-slinging, and finally a phoenix-like triumph. Yet, Nadeem
and Shravan have remained a force to reckon with, and their
compositions have retained the essence of quality music.
The two got together to compose for small-time films, but hit the big league with the Mithun Chakraborthy starrer Ilaaka. This did not bring them much recognition, and after insipid fare like Hisaab Khoon Ka, their moment of reckoning came when Mahesh Bhatt picked them for Aashiqui. The challenge was daunting - Bhatt was dealing with a new starcast, and the demand was for a fresh score to complement the demands of a love story. The duo had an ace up their sleeve, and came up with a winner of a score. Numbers like Jaane jigar jaane mann and Main duniya bhula doonga redefined film music. Nadeem-Shravan's flirtation with fame continued, when they encountered double success with Saajan and Sadak. Saajan became a sort of monument in the duo's career, and Sadak reinforced the fact that the two were here to stay. Deewana, Phool Aur Kaante (1992), Hum Hain Raahi Pyaar Ke (1993) and Barsaat (1995) ensured that they kept the flag of their career flying high. The unique feature of Nadeem-Shravan's music is that is reflects a firm grounding in the basics, but also reflects a penchant for experimentation. Two of their most memorable scores were for Raja Hindustani and Pardes. In fact, it seems like Subhash Ghai extracted the best from the duo for his Pardes, for their brilliance in this film remains truly matchless. But fame comes with a price attached, and controversy reared its ugly head when Nadeem was suspected in the Gulshan Kumar murder case. This ebbed the flow of productivity a little. But the two were never deterred. In fact, news of Nadeem and Shravan corresponding through the Internet and keeping the flag of their career flying high gained them some new-found respect, and prestigious offers. The year 2000-2001 has been a fertile one for the duo. After the resounding success of Dhadkan, Kasoor and Ek Rishtaa - The Bond Of Love, Nadeem and Shravan have been reinstated on the film music firmament. After all, credit can never elude those who deserve it, can it? |
Terdapat banyak dinamika dalam industri perfilman India. Mereka telah melihat banyak ketenaran, keberuntungan, kejatuhan, dan kejayaan. Namun, Nadeem dan Shravan tetap menjadi suatu kekuatan yang harus diperhitungkan dan komposisi mereka tetap menunjukkan pentingnya musik berkualitas.
Film-film berdurasi pendek yang mereka buat berdua menjadi film hit dalam liga perfilman India bersama Mithun Chakraborthy yang membintangi Ilaaka. Namun, belum banyak yang mengakui eksistensi mereka sampai munculnya film Hisaab Khoon Ka. Mereka hanya lebih diakui ketika Mahesh Bhatt mengontrak mereka untuk membuat film Aashiqui. Itu pun tidak berjalan dengan mudah. Muncul tantangan ketika Bhatt mengontrak pengadaan casting baru untuk membuat suatu cerita cinta. Nadeem dan Shravan segera menyingsingkan lengan baju dan akhirnya memenangi persaingan dengan para pengatur casting baru tersebut. Jaane Jigar Jaane Mann dan Main Duniya Bhula Doonga merupakan dua buah film musikalnya.
Popularitas Nadeem dan Shravan terus berlanjut, sampai saat pembuatan film Saajan dan Sadak. Saajan menjadi karya monumental mereka dalam karier dan Sadak menunjukkan fakta bahwa mereka sudah mapan dalam dunia perfilman. Film Dewaana, Phool Aur Kaante (1992), Hum Hain Raahi Pyaar Ke (1993), dan Baarsat (1995) memastikan bendera karier mereka tetap berkibar tinggi.
Sifat unik musik Nadeem-Shravan adalah mencerminkan dasar-dasar musik yang sangat kuat, sekaligus juga mencerminkan improvisasi eksperimental. Dua karya mereka yang paling dikenang adalah Raja Hindustani dan Pardes. Pada kenyataannya, nampaknya Subhash Ghai memanfaatkan yang terbaik dari mereka dalam pembuatan Pardes, karena terbukti kehebatan mereka dalam film ini tidak tertandingi.
Namun, popularitas tetap meminta korban, saat muncul kontroversi dengan adanya dugaan bahwa Nadeem menjadi tersangka dalam kasus pembunuhan Gulshan Kumar. Hal ini sedikit menghambat produktivitas mereka. Tapi keduanya tidak pernah mundur. Berita-berita mengenai Nadeem dan Shravan tersebar melalui Internet sehingga menjaga bendera karier mereka tetap berkibar tinggi dan mendapat penghargaan tinggi dan memperoleh penawaran bergengsi.
Tahun 2000-2001 menjadi tahun yang subur bagi mereka berdua. Setelah kesuksesan Dhadkan, Kasoor, dan Ek Rishtaa: The Bond of Love, Nadeem dan Shravan memperkokoh eksistensinya dalam film musikal. Bukankah penghormatan tak ‘kan pernah lepas dari mereka yang berhak?