For Dhirendra Mulkalwar, turning composer with Hanuman Ansh is nothing short of a divine experience. After composing nearly 500 jingles and working as a music producer on films, taking the leap into music direction with a film about spiritual guru Neeb Karori Baba — who Mulkalwar is a follower of — seemed fitting. Having created the film’s background score and composed Siyavar Ramchandra Ki Jai, he tells mid-day how surrendering to Neem Karoli Baba helped him find the movie’s melody. Excerpts from the interview.

Neem Karoli Baba is a [renowned] figure. People across the world, including Steve Jobs and Mark Zuckerberg, have spoken about his impact. So, as a music composer, the responsibility became huge because this film would not be limited to India; it would be seen all over the world. The good thing was that I surrendered myself to Babaji. It took me two-three months to crack the first theme. [Before that] I would try, reject, try again, but I was not happy [with the results]. Then, one day, I remembered Babaji. Within five to 10 minutes, the melody started floating. It was a divine experience for me. 

No. When Vishalji asked me if I would compose the score, he had no idea about my connection with Babaji. He had undertaken a 43-day ritual before the film started, and I went there to perform the Hanuman Chalisa. When he asked me to do the film, I said yes in a fraction of a second. I also told him that I had gone to Chitrakoot a few months earlier after trying to visit it unsuccessfully for four years. I went in April, and by July, he had offered me a film on Babaji.

On those movies, I worked as a music producer. With Hanuman Ansh, I am the music director and have done the background score, so the roles are different. Seeing my name on the big screen as a music director has been a special moment for me. The fact that it happened with Babaji’s film makes it even more special.

Hanuman Ansh was made on a limited budget. We did not even have the budget for marketing or recording. So, I converted my house into a studio and conducted all the recordings at home. On earlier films, we could afford to go to an orchestra in Vienna, but here that wasn’t possible. I knew the challenges the makers were facing, so it became like a family. I took my friends’ help. We didn’t want to compromise on quality. 

I don’t know of any official announcement. The first film is still running in theatres. Once that is complete, the team will discuss the sequel.