Film happens to be one of the most popular narrative forms at this point in history, and by empirical evidence, it doesn't seem too easy to do it well. For all the movies we see that satisfy us, there are at least ten times as many that don't quite cut it.

There are many reasons for this, ranging from miscasting, mistiming, etc., but quite often it is simply that a story has been badly told. The writer and director with three (of our) hours of ``sound and fury'' at their disposal have not been able to grip us, to make it worth it. So imagine the plight of the artiste who is given five minutes to create that emotion. Just five minutes, from beginning to end. Andalso be given the onus for marketing the film, because we can't rely on the stars. Oh yeah, and one more thing, do it with your (and our) eyes shut.

I'm talking about music directors. In Indian cinema, they are called artistes who have to deliver that special something in next to no time. Performers who have to create the initial curiosity before the film is released that will bring the crowds on First Day First Show, and to sustain the popularity of the film once it is out.

Again, not all songs satisfy, but there have been two music directors who have been able to beat the averages for improbably long, who not only have managed to produce great music, but avoided producing any bad music throughout their careers (which seems even harder).

One is the path-breaking music composer who redefined Hindi film music in the 70s with a brand new style, enriching his compositions with a whole new ``sound.'' (Hint: The name is --.--. -- -- --man).

The other is the path-breaking music composer who redefined Hindifilm music in the 90s with a brand new style, enriching his compositions with a whole new ``sound.'' (Hint: The name is --.--. -- -- --man).

The answer to part 1 is of course R D Burman, and the answer to part 2 is obviously A R Rahman.

There are a number of less superficial similarities between the two. Both stand out as solo music directors in a field dominated by duos. Both have lent their voices to unforgettable tracks, songs that would be hard to imagine without their characteristic rendition. (Pancham's Piya Tu, Mehbooba Mehbooba; Rahman's Muqabla, Dil Se, and now Ishq Bina from the film Taal).

What also sets them apart is their sense of sound. Using sound effects and other ``non-musical'' audio bytes in their compositions, whether for playback songs or for background scores, has become a hallmark of both these artistes.

Not only effects, they use the voice as an extension of their instrumentation, an integral part of the orchestration, rather than the traditionalseparation - where the voice and lyrics dominate over the music, which is treated as an accompaniment, and then allowed an interlude before the vocals come back. Just listen to the way Rahman has used the chorus vocals to sing the word ``Ishq'' in Ishq Bina and you will know what I mean.

Both have also been masters of the complete audio soundtrack of the film, as they have created magical background scores as well. Rahman's theme from Bombay is a cult favourite in places like London and Los Angeles; and is it possible to imagine Sholay without the eerie and fantastic sounds that R.D. provided, that have become as memorable as Salim-Javed's dialogue itself?

What links them together more than anything else is their ability to create something truly cinematic, music that elevates us and moves us emotionally, and more often than not tells us a story in five minutes that otherwise seemed impossible in three hours.