A candid look at a long-standing collaboration
Ismail Darbar, the acclaimed music composer who helped shape some of Indian cinema’s most memorable soundtracks, has spoken openly about his creative clashes with filmmaker Sanjay Leela Bhansali. In a recent interview, Darbar revisited the early days of their partnership, highlighted by the landmark film Hum Dil De Chuke Sanam, and explained how honest, sometimes sharp, discussions formed the backbone of their working relationship.
Darbar emphasized that from the outset, his approach to music aligned with a bold, unapologetic stance. He described a dynamic where he would voice his ideas clearly and push back when he disagreed with Bhansali’s suggestions. This kind of candor, he argues, kept collaborations fresh and helped both artists reach their best possible outcomes.
The Heeramandi chapter and a rising rift
The discussions around the web series Heeramandi marked a turning point. Darbar spent nearly a year and a half crafting the music for the project, pouring in meticulous effort and creative energy. A media article that hailed him as the “backbone” of Heeramandi allegedly set off a fierce reaction. The piece, suggesting he had orchestrated the project’s strong musical identity, reportedly sparked tension when Bhansali interpreted the piece as a stab at credit or manipulation.
Darbar recounted a tense moment that underscored the rift. He recounted a confrontation in Bhansali’s office, where the filmmaker questioned his account of the interview, and Darbar chose to stand firm about his statements. This incident, he says, signaled a deeper hint of unresolved ego and fear of losing credit, which, in his view, gradually eroded trust. He ultimately chose to walk away from Heeramandi, believing that remaining in a toxic dynamic would only erode his own contribution and standing.
Ismail Darbar’s perspective on ego and credit
Reflecting on the broader arc of their relationship, Darbar argued that Bhansali’s ego played a pivotal role in their professional split. He claimed that his own role as a creative partner—often labeled by the press as a defining force behind Bhansali’s projects—was overshadowed by perceived credit-taking. “I was the backbone in Hum Dil De Chuke Sanam,” he asserted, a claim echoed by supporters who recall the composer’s distinctive contribution to Bhansali’s films. The tension, in his view, was not simply about a single disagreement but about a pattern where achieving widespread recognition became a source of conflict.
What Heeramandi could have sounded like
Despite the fallout, Darbar did not attribute Heeramandi’s undercurrents to a lack of belief in the project. He suggested that, had he remained involved, Heeramandi might have sounded immortal in a way that would have surpassed even Bhansali’s expectations. “If I had done the music for Heeramandi, I would have made it immortal,” he stated, indicating a belief in the transformative power his arrangements could bring to the series. He added that his own musical groundwork was robust and could have elevated the project beyond its already strong ensemble of performers and creators.
Current stance: a sharp line in the sand
Asked about a hypothetical future collaboration, Darbar gave a clear answer: even if Bhansali offered an enormous sum, such as Rs 100 crore, he would decline. The line, as he put it, would be crossed only by Bhansali himself if he stepped into his studio again. This blunt stance signals a definitive end to a once fruitful partnership and underscores the enduring impact of their years together—both the triumphs and the tensions.
Why this matters for Bollywood’s music landscape
The Darbar–Bhansali dynamic offers a case study in how personal egos, media narratives, and credit can influence some of the industry’s most important collaborations. For fans and industry watchers, the wider takeaway is a reminder that even celebrated partnerships are subject to friction when artistic visions collide with the pressures of fame and recognition. Darbar’s reflections invite a broader conversation about collaboration, credit, and the intangible lines that separate harmony from discord in film music.
