其实看一下他所保留下来的奖杯，你就不得不认为他的整个房子的存在就只是为了陈列它们。1992，在他24岁的时候，影片“Roja”为他赢得的“国际最佳音乐指导奖”，5年后他又因“Minaret Kanavu”再次得此誉荣。在92，93，94年在“Governor of Tamil Nadu”获得“Stele Purashkar奖”，92，93，94，95年获得“洲际奖”，和从1992开始所获得的到现在所获得的“电影票房奖”等各项奖。还有其他一些像“电影院表演奖”，“赖其-瑞迪奖”。“拉吉夫甘地奖”以及“荧屏奖”(和专集)。还有在世纪之交，为了奖励与感谢拉曼为印度音乐所做的贡献，拉曼被印度总统授予“最高平民荣誉-帕迪-歇尔奖”。
Since Roja hit movie screens in South India in 1992, A.R. Rahman has been redefining the country's widely popular film music. Generally regarded as the finest Indian film composer of his time (and certainly the most commercially successful), Rahman produced music for nearly 35 wide-screen releases during his first five years in the industry. He has worked with many of his country's brightest music stars and a growing list of international luminaries like Nusrat Fateh Ali Khan, Zakir Hussain, L. Shankar, Apache Indian, and David Byrne.
Born A.S. Dileep Kumar on January 6th, 1966, in Madras, India, Allah Rakha Rahman was exposed to music from the time he was a child, entered in classical piano studies by his parents at the age of four. At 16, he quit school and was following in his father's footsteps (K.A. Sekhar was a successful film musician, arranger, and conductor himself), working full-time as a session musician on soundtracks under the popular South Indian composer Illaiyaraja. The monotony soon grew tiring however, and at the suggestion of a colleague, Rahman tried his hand at television commercials, eventually composing over 300 jingles in just five years. It wasn't until 1989 that Rahman planted the first seeds of his film career. That year, he began acquiring the equipment and organizing the sound library for his Panchathan Record Inn. When Sharada Trilok's ad for Leo Coffee (for which Rahman penned the music) won her an award, she introduced the young composer to her cousin, Mani Ratnam. Impressed with his work, the director signed Rahman to compose the music for K. Balachander's 1992 film Roja. Rahman's score, a colorful, uncluttered combination of pop, rock, reggae, and his country's traditional music, reshaped the genre, winning him three awards for Best Music Director. Roja became the equivalent of an Indian crossover success. Originally filmed in South Indian Tamil, it was re-dubbed (and its soundtrack re-recorded) in Hindi, the language of North India's famous film center &Bollywood.& His star on the rise, Rahman proceeded to compose music for six films in 1993 and nine in 1994 including the score for Ratnam's Bombay (1995), the story of a Hindu/Muslim marriage in a time of heated relations between the two cultures. Rahman's score displayed a characteristic (and appropriate) disregard for the confines of culture, be they Eastern or Western, once again mixing traditional and modern elements. Bombay was hugely successful and the movie's theme was featured on Talvin Singh's Soundz of the Asian Underground compilation. Rahman became the first Indian artist to sign with Sony Music, negotiating a three-year contract in 1997. His premier release for the label, Vande Mataram (his first collection of non-film music), was a tribute to India, commemorating 50 years of the country's independence. The album reached record stores in 28 countries on August 15th of that year. Rahman finally seemed poised on the brink of the international success he desired. Performances were booked in Europe, Canada, and the United States during the final years of the century and a session was arranged with singer David Byrne (owner of the Luaka Bop label and a Rahman fan). Andrew Lloyd Webber chose Rahman to compose the music for his Bombay Dreams, a musical based on the &Bollywood& film industry. The pair began work on the project in London during the second half of 2000.