John Stewart Eduri

John Stewart Eduri’s name doesn’t always get shouted from the rooftops, but the guy’s fingerprints are all over some of the biggest projects in Indian cinema lately. Let’s talk Shershaah (2021) first—now that’s a film that stuck in people’s heads for ages. The music in it? Absolutely nails the emotional highs and gut-punch lows of Captain Vikram Batra’s story. You’d think the guy lived through Kargil himself with the way he weaves those sonic punches into every turning point. Then there’s Ra.One (2011), which, let’s be honest, was this wild, ambitious sci-fi ride full of Shah Rukh Khan, video game madness, and VFX that looked like Bollywood was flexing for Hollywood. Eduri’s score didn’t just sit in the background either; it practically grabbed you by the collar and pulled you through the chaos, amping up every robot fight and chase scene like your heart couldn’t handle another adrenaline spike. But honestly, Mirzapur (2018) is where Eduri really showed he can do moody, gritty, and downright menacing. The show’s got this raw, unpredictable vibe—guns, power plays, and the kind of family drama that makes you glad you’re not actually in that world. Eduri’s music doesn’t just set the mood, it jacks up the tension until you’re practically chewing your nails off. He’s not afraid to get a little weird with the sounds either, mixing in stuff that shouldn’t work but totally does. You can feel his style—bold, experimental, and never just phoning it in. So, even if his name isn’t front and center, John Stewart Eduri’s kind of a secret weapon behind some of the coolest stuff to hit screens in the last decade.