Mughal-e-Azam

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Mughal-e-Azam (Template:Translation) is a 1960 Indian epic historical drama film produced and directed by K. Asif. Starring Prithviraj Kapoor, Dilip Kumar, Madhubala, and Durga Khote, it follows the love affair between Mughal Prince Salim (who went on to become Emperor Jahangir) and Anarkali, a court dancer. Salim's father, Emperor Akbar, disapproves of the relationship, which leads to a war between father and son.

The development of Mughal-e-Azam began in 1944, when Asif read a 1922 play called Anarkali, by the playwright Imtiaz Ali Taj, which is set in the reign of Emperor Akbar (1556–1605). Production was plagued by delays and financial uncertainty. Before its principal photography began in the early 1950s, the project had lost a financier and undergone a complete change of cast. Mughal-e-Azam cost more to produce than any previous Indian motion picture; the budget for a single song sequence exceeded that typical for an entire film of the period. The soundtrack, inspired by Indian classical and folk music, comprises 12 songs voiced by playback singer Lata Mangeshkar along with Mohammed Rafi, Shamshad Begum, and classical singer Bade Ghulam Ali Khan, and is often cited among the finest in the history of Hindi cinema.

Mughal-e-Azam had the widest release of any Indian film up to that time, and patrons often queued all day for tickets. Released on 5 August 1960, it broke box office records in India and became the highest-grossing Indian film, a distinction it held for 15 years. The accolades awarded to the film include one National Film Award and three Filmfare Awards at the 8th Filmfare Awards. Mughal-e-Azam was the first black-and-white Hindi film to be digitally coloured, and the first in any language to be given a theatrical re-release. The colour version, released on 12 November 2004, was also a commercial success.

The film is widely considered to be a milestone for its genre, earning praise from critics for its grandeur and attention to detail, and the performances of its cast (especially that of Madhubala, who earned a nomination for the Filmfare Award for Best Actress). Film scholars have welcomed its portrayal of enduring themes, but question its historical accuracy. It was the most expensive Indian film made until then.

Plot

Emperor Akbar, who does not have a male heir, undertakes a pilgrimage to a shrine to pray that his wife Jodhabai give birth to a son. Later, a maid brings the emperor news of his son's birth. Overjoyed at his prayers being answered, Akbar gives the maid his ring and promises to grant her anything she desires.

The son, Prince Salim, grows up to be spoiled, flippant, and self-indulgent. His father sends him off to war, to teach him courage and discipline. Fourteen years later, Salim returns as a distinguished soldier and falls in love with court dancer Nadira, daughter of the maid who brought the emperor news of his son's birth. Nadira was renamed by the emperor as Anarkali, meaning pomegranate blossom. The relationship is discovered by the jealous Bahar, a dancer of a higher rank, who wants prince Salim to love her so that she may one day become empress. Unsuccessful in winning Salim's love, she exposes his forbidden relationship with Anarkali. Salim pleads to marry Anarkali, but his father refuses and imprisons her. Despite her treatment, Anarkali refuses to reject Salim, as Akbar demands.

Salim rebels and amasses an army to confront Akbar and rescue Anarkali. Defeated in battle, Salim is sentenced to death by his father, but is told that the sentence will be revoked if Anarkali, now in hiding, is handed over to die in his place. Anarkali gives herself up to save the prince's life and is condemned to death by being entombed alive. Before her sentence is carried out, she begs to have a few hours with Salim as his make-believe wife. Her request is granted, as she has agreed to drug Salim so that he cannot interfere with her entombment.

As Anarkali is being walled up, Akbar is reminded that he still owes her mother a favour, as it was she who brought him news of Salim's birth. Anarkali's mother pleads for her daughter's life. The emperor has a change of heart, but although he wants to release Anarkali he cannot, because of his duty to his country. He therefore arranges for her secret escape into exile with her mother, but demands that the pair live in obscurity and that Salim is never to know that Anarkali is still alive.

Production

Development

File:Sulocmov.jpg

Anarkali, the 1928 silent film based on the tale of Anarkali and Salim

The Urdu dramatist Imtiaz Ali Taj wrote a play about the love story of Salim and Anarkali in 1922,<ref name="art">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Sfn based more on a 16th-century legend than on fact.Template:Sfn A stage version was soon produced, and screen versions followed.Template:Sfn Ardeshir Irani made a silent film, Anarkali, in 1928, and remade it with sound in 1935.Template:Sfn In the early 1940s, the tale of Anarkali inspired producer Shiraz Ali Hakeem and young director K. Asif (Karimuddin Asif) to make another film adaptation which they would title Mughal-e-Azam.Template:Sfn They recruited four Urdu writers to develop the screenplay and dialogue: Aman (Zeenat Aman's father, also known as Amanullah Khan), Wajahat Mirza, Kamaal Amrohi, and Ehsan Rizvi.Template:Sfn It is not known how the writers collaborated or shared out their work, but in 2010 The Times of India said that their "mastery over Urdu's poetic idiom and expression is present in every line, giving the film, with its rich plots and intricate characters, the overtones of a Shakespearean drama."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> As the script neared completion, Asif cast Chandra Mohan, D. K. Sapru, and Nargis for the roles of Akbar, Salim, and Anarkali, respectively.Template:Sfn<ref name="cell">Template:Cite news</ref> Shooting started in 1946 in Bombay Talkies studio.Template:Sfn

The project faced multiple hurdles, which forced its temporary abandonment. The political tensions and communal rioting surrounding India's 1947 partition and independence stalled production. Shortly after partition, Shiraz Ali migrated to Pakistan, leaving Asif without a financier.<ref name="cell" />Template:Sfn The actor Chandra Mohan suffered a heart attack and died in 1949.<ref name="how">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Shiraz Ali had previously suggested that business tycoon Shapoorji Pallonji could finance the film. Although Pallonji knew nothing about film production, in 1950 he agreed to finance the film because of his interest in the history of Akbar.Template:Sfn<ref>Template:Cite news</ref> Production was then restarted with a new cast.Template:Sfn

Believing that the film had been cancelled, Kamal Amrohi, one of the scriptwriters who was also a director, planned to make a film on the same subject himself. When confronted by Asif, he agreed to shelve the project.Template:Sfn Another unrelated film production based on the same stage play was Nandlal Jaswantlal's Anarkali, starring Bina Rai and Pradeep Kumar, which became the highest grossing Hindi film of 1953.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Casting

File:Dilip Kumar Jwar Bhata.jpg

Actor Dilip Kumar, pictured above in 1944, plays the role of Prince Salim.

Asif had initially rejected Dilip Kumar for the part of Prince Salim.Template:Sfn Kumar was reluctant to act in a period film, but accepted the role upon the insistence of the film's producer.<ref name="making">Template:Cite news</ref> According to Kumar, "Asif trusted me enough to leave the delineation of Salim completely to me."<ref name="kumar">Template:Cite news</ref> Kumar faced difficulty while filming in Rajasthan owing to the heat and the body armour he wore.<ref name="kumar" /> The part of Anarkali had first been offered to Nutan, who declined it;Template:Sfn Suraiya was considered for the role but eventually it went to Madhubala, who had been longing for a significant role.<ref name="hinrev">Template:Cite news</ref><ref name="let">Template:Cite news</ref> Upon signing the film, Madhubala was advancely paid a sum of Template:INR1 lakh, which was the highest for any actor/actress at that time.<ref>Template:Cite book</ref> She suffered from congenital heart disease,<ref name="newt" /> which was one of the reasons why at times she fainted on set; she also endured skin abrasions while filming the prison sequences, but was determined to finish the film.<ref name="decher">Template:Cite news</ref>

To become the character of Emperor Akbar, Prithviraj Kapoor was reported to have "relied completely on the script and director".<ref name="cell" /> Prior to make-up, Kapoor would declare, "Prithviraj Kapoor ab jaa rahaa hai" ("Prithviraj Kapoor is now going"); after make-up, he would announce, "Akbar ab aa rahaa hai" ("Akbar is now coming"). Kapoor faced difficulty with his heavy costumes, and suffered blisters on his feet after walking barefoot in the desert for a sequence.<ref name="cell" /> Lance Dane, a photographer who was on set during the filming, recalled that Kapoor struggled to remember his lines in some scenes; he mentioned one scene in particular that Kapoor required 19 takes to get right.Template:Sfn At the time of filming, Kapoor who was on a diet, was told by Asif to regain the lost weight for his portrayal of Akbar.Template:Sfn Durga Khote was cast as Akbar's wife Jodhabai,Template:Sfn and Nigar Sultana as the dancer Bahar.<ref>Template:Cite news</ref> Zakir Hussain, who later became a tabla maestro, had initially been considered for the part of the young Prince Salim, but it became the debut role of Jalal Agha, who later performed on the song "Mehbooba Mehbooba" from Sholay (1975).<ref name="art" />

Design

The production design of the film, led by art director M. K. Syed, was extravagant, and some sets took six weeks to erect. The film, mostly shot in studio sets designed to represent the interior of a Mughal palace, featured opulent furnishings and water features such as fountains and pools,Template:Sfn generating the feel of a Hollywood historical epic of the period. The song "Pyar Kiya To Darna Kya" was filmed in Mohan Studios on a set built as a replica of the Sheesh Mahal in the Lahore Fort. The set was noted for its size, measuring Template:Convert in length, Template:Convert in breadth and Template:Convert in height.<ref name="cell" /> A much-discussed aspect was the presence of numerous small mirrors made of Belgian glass, which were crafted and designed by workers from Firozabad.<ref>Template:Cite news</ref> The set took two years to build and cost more than Template:INR1.5 million (valued at about US$314,000 in 1960),Template:EfnTemplate:Sfn more than the budget of an entire Hindi film at the time. The film's financiers feared bankruptcy as a result of the high cost of production.<ref name="making" />

Artisans from across India were recruited to craft the props. The costumes were designed by Makhanlal and Company,Template:Sfn and Delhi-based tailors skilled in zardozi embroidery stitched the Mughal costume.Template:Sfn The footwear was ordered from Agra, the jewellery was made by goldsmiths in Hyderabad, the crowns were designed in Kolhapur, and blacksmiths from Rajasthan manufactured the armoury (which included shields, swords, spears, daggers, and armour). The zardozi on costumes were also stitched by designers from Surat.<ref name="making" />Template:Sfn<ref name="Best">Template:Cite news</ref> A statue of Lord Krishna, to which Jodhabai prayed, was made of gold. In the scenes involving an imprisoned Anarkali, real chains were placed on Madhubala.<ref name="cell" /> The battle sequence between Akbar and Salim reportedly featured 2,000 camels, 400 horses, and 8,000 troops, mainly from the Indian Army's Jaipur cavalry, 56th Regiment.Template:Sfn Dilip Kumar has spoken of the intense heat during filming of the sequence in the desert of Rajasthan, wearing full armour.<ref name="kumar" />

Principal photography

Principal photography for Mughal-e-Azam began in the early 1950s.<ref name="making" /> Each sequence was reportedly filmed three times,<ref>Template:Cite news</ref> as the film was being produced in Hindi/Urdu, Tamil, and English. The film was eventually dubbed in Tamil and released in 1961 as Akbar,<ref name="hundred" /><ref>Template:Cite news</ref> but that version's commercial failure resulted in the abandonment of the planned English dubbing, for which British actors were considered.<ref name="making" /> Asif was accompanied by an extensive crew, which included his assistant directors S. T. Zaidi, Khalid Akhtar, Surinder Kapoor (assisting primarily for the English version),<ref name="cell" /> and five others.<ref name="credits" /> Additional crew members included cinematographer R. D. Mathur, choreographer Lachhu Maharaj,Template:Sfn production manager Aslam Noori, cameraman M. D. Ayub, editor Dharamavir, makeup artists P. G. Joshi and Abdul Hamid, and sound director Akram Shaikh.<ref name="credits">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Some film sequences were shot with up to 14 cameras, significantly more than the norm at that time.<ref name="cell" /> There were many difficulties with the film's lighting; cinematographer Mathur reportedly took eight hours to light a single shot. In total, 500 days of shooting were needed, compared to a normal schedule of 60 to 125 shooting days at the time.<ref name="cell" /> Owing to the very large size of the Sheesh Mahal set, the lighting was provided by the headlights of 500 trucks and about 100 reflectors.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The presence of the mirrors on the set caused problems, as they sparkled under the lights. Foreign consultants, including British director David Lean, told Asif to forget the idea since they felt that it was impossible to film the scene under the intense glare. Asif confined himself to the set with the lighting crew,<ref name="cuts">Template:Cite news</ref> and subsequently overcame the problem by covering all the mirrors with a thin layer of wax, thereby subduing their reflectivity.<ref name="cell" /> Mathur also used strategically placed strips of cloth to implement "bounce lighting", which reduced the glare.<ref name="hundred">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Template:Quote box A number of problems and production delays were encountered during filming, to the extent that at one point Asif considered abandoning the project.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Kumar defended the long duration of filming, invoking the massive logistics of the film and explaining that the entire cast and crew were "acutely conscious of the hard work [they] would have to put in, as well as the responsibility [they] would have to shoulder."<ref name="kumar" />

The production also suffered from financial problems, and Asif exceeded the budget on a number of occasions.<ref name="hinrev" /> The final budget of the film is a subject of debate. Some sources state that Mughal-e-Azam cost Template:INR10.5 million to produce<ref name="making" /><ref name="nytimes">Template:Cite news</ref> (about US$2.25 million at the time)<ref name="nytimes" /> while others state that it cost Template:INR15 million (about $3 million).<ref name="cell" /><ref name="newt" /><ref name="lat">Template:Cite news</ref><ref name="et1">Template:Cite news</ref> This made Mughal-e-Azam the most expensive Indian film of the period. A number of estimates put the film's inflation-adjusted budget at Template:INR500 million to Template:INR2 billion. The budget situation strained the relationship between Asif and Pallonji, while the production also faced troubled relationships among other crew members; differences crept up between Asif and Kumar when the former married the latter's sister.<ref name="hinrev" /> Another source of trouble was the romantic relationship and ultimate break-up of Kumar and Madhubala, who had been dating for nine years.<ref>Template:Cite news</ref>

Post-production

Sohrab Modi's Jhansi Ki Rani (1953) was the first Indian film to be shot in colour,<ref name="True" /><ref name="firsts">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and by 1957, colour production had become increasingly common. Asif filmed one reel of Mughal-e-Azam, including the song "Pyar Kiya To Darna Kya", in Technicolor. Impressed by the result, he filmed three more reels in Technicolor, near the story's climax. After seeing them, he sought a complete re-shoot in Technicolor, but financiers refused. Asif subsequently released Mughal-e-Azam partially coloured, although he still hoped to see the full film in colour.<ref name="guardian">Template:Cite news</ref>

By the end of filming, more than a million feet of negative had been used, necessitating significant editing.<ref name="cell" /> A number of songs were edited out owing to the running time, which in the end was 197 minutes.<ref name="zulm" /> Almost half of the songs recorded for the film were left out of the final version.<ref name="cuts" />

Themes

Mughal-e-Azam is a family history highlighting the differences between father and son, duty to the public over family, and the trials and tribulations of women, particularly of courtesans. According to Rachel Dwyer, author of the book Filming the Gods: Religion and Indian Cinema, the film highlights religious tolerance between Hindus and Muslims. Examples include the scenes of Hindu Queen Jodhabai's presence in the court of the Muslim Akbar, the singing of a Hindu devotional song by Anarkali, and Akbar's participation in the Janmashtami celebrations, during which Akbar is shown pulling a string to rock a swing with an idol of Krishna on it.Template:Sfn Film critic Mukul Kesavan has remarked that he was unable to recall a single other film about Hindu-Muslim love in which the woman (Jodhabai) is Hindu.<ref name="Publishing2008">Template:Cite magazine</ref> Scholars Bhaskar and Allen described the film as a tableau vivant of "Islamicate culture", evidenced in its ornate sets, musical sequences such as the qawwali scene, and chaste Urdu dialogues.Template:Sfn Throughout the film there is a distinct depiction of Muslims as the ruling class who not only dressed differently but also spoke in complex Persianised dialogue. They are made to appear "distinct and separate from the mainstream."Template:Sfn

Film scholar Stephen Teo posits that Mughal-e-Azam is a "national allegory", a stylistic way of appropriating history and heritage to emphasise the national identity.Template:Sfn He believes the arrogance of Bahar represents the power of the state and that Anarkali's emotion, which is highly personal, represents the private individual.Template:Sfn Teo states that the theme of romantic love defeating social class difference and power hierarchy, as well as the grandeur of the filming, contribute to the film's attractiveness.Template:Sfn Author Ashis Nandy has commented on the poetic quality of the dialogue, saying that "the characters of Mughal-e-Azam do not just speak – they refine communication, they distil it, they crystallize it into many faceted glittering gems, they make poetry of ordinary language."Template:Sfn Gowri Ramnarayan of The Hindu has also emphasised the power of the dialogues in the film, in that they "create not only the ambiance of this period drama, but also etch character and situation. Every syllable breathes power and emotion."<ref>Template:Cite news</ref>

Philip Lutgendorf, a scholar at the University of Iowa, has stated that while the theme of the conflict between passionate individual love and family duty may be very common in Hindi film making, with endless cinematic permutations, K. Asif's "excessive elaboration of the theme remains in a class by itself."<ref name="uiowa">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Further, Emperor Akbar struggles between his personal desires and his duties to the nation.<ref name="uiowa" /> Ashis Nandy noted that apart from the conflict between Akbar and his son, there is also an "unwritten alliance" between Akbar and Bahar that compounds the problems of Anarkali. He also thought it highlighted the "idea of justice and the notion of unconditional love" to uphold tradition.Template:Sfn The song "Pyar Kiya To Darna Kya" sung by Anarkali was an indication of her defiance of societal norms.Template:Sfn A major difference from the original story is that while the earlier Anarakali films based on Imtiaz Ali Taj's story ended as tragedies, K. Asif created a relatively happy ending in that Akbar gives amnesty to Anarkali by allowing her to escape through a secret route of tunnels below a false bottom of her prison wall, although his son is made to suffer in believing her to have perished.Template:Sfn

Historical inaccuracies

File:Jahangir with portrait of Akbar.jpg

Jahangir with a Portrait of Akbar-the killer, c. 1614. Jahangir the invader (Salim) and Akbar play central characters in the film.

The film is based on a legend, but it is given credence by at least two texts that assert Anarkali's existence during the historical period of Emperor Akbar (1556–1605). One of the books states that in 1615 a marble tomb was built on Anarkali's grave in Lahore by Salim, when he had become Emperor Jehangir.Template:Sfn On the tomb is a Persian inscription that reads: Ta Kiyamat shukr geom kardgate khwesh ra, Aah garman bez benaam roo-e yare khwesh ra ("Ah! could I behold the face of my love once more, I would give thanks to my God until the day of resurrection"). The author of the stage play on which the film is based, Imtiaz Ali Taj, believed that the legend had no historical base,Template:Sfn but historians have suggested that Anarkali may have been a painter, a dancer, or a courtesan, or one of Akbar's wives and the mother of Salim's half-brother Prince Daniyal.<ref name="guardian" />Template:Sfn While an earlier film version of the story, Anarkali (1952), contained a disclaimer stating that the story had no foundation in history, Mughal-e-Azam made no such claim.Template:Sfn

Mughal-e-Azam takes numerous liberties with historical fact. Historian Alex von Tunzelmann says that although the real Salim was a heavy consumer of alcohol and opium from the age of 18, he was not necessarily a mischievous boy, as depicted in the film. When the film's Salim returns from his time in the military, he is depicted as a gentle and romantic hero, in contrast to the real Salim, who was documented as a brutal drunk who would often beat people to death. The real Salim did lead a rebellion against his father, tried to replace him as emperor, and had Akbar's friend Abu al-Fazl murdered in 1602, but the film ascribes these actions to his desire to marry Anarkali, which is historically inaccurate.<ref name="guardian" />Template:Sfn Further, there were also discrepancies in sets, costumes, and music of the film. The Sheesh Mahal, actually the royal bath of the queen, was depicted in the film as a dancing hall, and much larger. Music and dancing styles from the 19th century were depicted, although the story takes place in the 16th century. For example, thumri, a semi-classical music form developed in the 19th century, is adopted in a dance sequence in Kathak style, which is a 16th-century dance form.Template:Sfn

Music

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The soundtrack was composed by music director Naushad, and the lyrics were written by Shakeel Badayuni. After conceiving the idea of the film, Asif visited Naushad and handed him a briefcase containing money, telling him to make "memorable music" for Mughal-e-Azam. Offended by the explicit notion of money as a means of gaining quality, Naushad threw the notes out of the window, to the surprise of his wife. She subsequently made peace between the two men, and Asif apologised. With this, Naushad accepted the offer to compose the film's soundtrack.<ref name="music1">Template:Cite news</ref> As with most of Naushad's soundtracks, the songs of Mughal-e-Azam were heavily inspired by Indian classical music and folk music, particularly ragas such as Darbari, Durga, used in the composition of "Pyar Kiya To Darna Kya",<ref>Template:Cite news</ref> and Kedar, used in "Bekas Pe Karam Keejeye".<ref>Template:Cite news</ref> He also made extensive use of western classical orchestras and choruses to add grandeur to the music.Template:Sfn The soundtrack contained a total of 12 songs, which were rendered by playback singers and classical music artists. These songs account for nearly one third of the film's running time.Template:Sfn

Marketing

The painter G. Kamble was lured away from V. Shantaram's Rajkamal Kalamandir to paint the posters.<ref>Template:Cite news</ref><ref name="posters">Template:Cite news</ref> Kamble also created cinema displays at Maratha Mandir theatre.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}Template:Cbignore</ref> Asif needed to buy all available stocks of Winsor & Newton paint in India at a cost of Template:INR6 lakh to enable Kamble to produce quality art for his hoardings.<ref>Template:Cite news</ref> Kamble, who was offered a large sum of Template:INR8 lakh for his work on the stills of Mughal-e-Azam, did not receive any compensation in the end due to fraud.<ref name="posters" />

Release

Template:Quote box At the time of the release of Mughal-e-Azam, a typical Hindi film would garner a distribution fee of Template:INR300,000–400,000 (about US$63,000–84,000 in 1960)Template:Efn per territory. Asif insisted that he would sell his film to the distributors at no less than Template:INR700,000 per territory. Subsequently, the film was actually sold at a price of Template:INR1.7 million (US$356,000)Template:Efn per territory, surprising Asif and the producers. Thus, it set the record for the highest distribution fee received by any Hindi film at that time.<ref name="star" />

The premiere of Mughal-e-Azam was held at the then-new 1,100-capacity Maratha Mandir cinema in Mumbai.<ref name="newt">Template:Cite news</ref><ref name="premiere">Template:Cite magazine</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Mirroring the nature of the film, the cinema's foyer had been decorated to resemble a Mughal palace, and a Template:Convert cut-out of Prithviraj Kapoor was erected outside it.<ref name="cutout">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The Sheesh Mahal set was transported from the studio to the cinema, where ticket holders could go inside and experience its grandeur.Template:Sfn Invitations to the premiere were sent as "royal invites" shaped like scrolls, which were written in Urdu and made to look like the Akbarnama, the official chronicle of the reign of Akbar.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The premiere was held amidst great fanfare, with large crowds and an extensive media presence, in addition to hosting much of the film industry,<ref name="cell" /> although Dilip Kumar did not attend the event owing to his dispute with Asif. The film's reels arrived at the premiere cinema atop a decorated elephant, accompanied by the music of bugles and shehnai.<ref name="kumar" /><ref name="newt" />

Reception

Box office

The day before bookings for the film opened, a reported crowd of 100,000 gathered outside the Maratha Mandir to buy tickets.<ref name="cell" /> The tickets, the most expensive for a Hindi film at that time, were dockets containing text, photographs and trivia about the film, and are now considered collector's items.<ref name="lasting">Template:Cite news</ref> They sold for Template:INR100 (valued at about US$21 in 1960),Template:Efn compared to the usual price of Template:INR1.5 (US$0.31).Template:Efn<ref>Template:Cite news</ref> Bookings experienced major chaos, to the extent that police intervention was required. It was reported that people would wait in queues for four to five days, and would be supplied food from home through their family members.<ref name="quote">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Subsequently, the Maratha Mandir closed bookings for three weeks.<ref name="cell" />

Mughal-e-Azam was released on 5 August 1960 in 150 cinemas across the country, establishing a record for the widest release for a Hindi film.<ref name="making" /> It became a major commercial success, earning Template:INR4 million (US$839,000)Template:Efn in the first week,<ref>Mughal-e-Azam documentary by Sterling Investment Corporation. From 17:11 to 17:41.</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> eventually earning a net revenue of Template:INR55 million (US$11,530,000),Template:Efn and generating a profit of Template:INR30 million for the producers. Mughal-e-Azam also experienced a long theatrical run, screening to full capacity at the Maratha Mandir for three years.<ref name="cutout" /> The film thus became the highest-grossing Hindi film by surpassing Mother India (1957), and retained this record until Sholay (1975) surpassed its net revenue.<ref name="making" /><ref name="newt" /> In terms of gross revenue, Mughal-e-Azam earned Template:INR (Template:US$).<ref name="boi60">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

According to Ziya Us Salam of The Hindu in 2009, Mughal-e-Azam was the highest-grossing Hindi film of all time if adjusted for inflation.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> According to the online box office website Box Office India in January 2008, the film's adjusted net revenue would have amounted to Template:INR, ranking it as an "All-Time Blockbuster".<ref name="boi">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> According to Box Office India in June 2017, Mughal-e-Azam may have had more than 100 million footfalls at the domestic box office more than films like Hum Aapke Hain Koun (1994) and Baahubali 2 (2017).<ref name="hindi">Bahubali 2 Is The Biggest Hindi Blockbuster This Century Template:Webarchive, Box Office India, 8 June 2017</ref> According to financial newspaper Mint, the adjusted net income of Mughal-e-Azam is equivalent to Template:INR (Template:US$) in 2017.<ref>Template:Cite news</ref> In 2011, it was ranked as the highest grossing Hindi film by a distance, when adjusted to gold-price inflation by Box Office India with adjusted nett gross of ₹1234.95 crore. The list was compiled using the relative price of gold in different years to arrive at a hypothetical current value of box-office collections of past films, which as per the trade magazine was a more appropriate measure of comparison as compared to official ticket-price inflation rates.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Critical reception

Mughal-e-Azam received universal acclaim from Indian critics; every aspect of the film was praised.<ref name="bh1">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite news</ref> A review dated 26 August 1960Template:Sfn in Filmfare called it a "history-making film ... the work of a team of creative artists drawn from different spheres of the art world". It was also described as "a tribute to imagination, hard work and lavishness of its maker, Mr. Asif. For its grandeur, its beauty, and then performances of the artists it should be a landmark in Indian films."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Another contemporary review from The Indian Express focused on the acting and dancing "gifts" of Madhubala.<ref name="IEPaper">Template:Cite news</ref>

Since 2000, reviewers have described the film as a "classic", "benchmark", or "milestone" in the history of Indian cinema.<ref name="art" /><ref name="kumar" /> In 2011, Anupama Chopra called it "the best Hindi film ever made" and "the apotheosis of the Hindi film form", noting specifically the performances, father-son drama and song sequences.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Dinesh Raheja of Rediff called the film a must-see classic, saying "a work of art is the only phrase to describe this historical whose grand palaces-and-fountains look has an epic sweep and whose heart-wrenching core of romance has the tenderness of a feather's touch."<ref name="art" /> Sujata Gupta of Planet Bollywood gave the film nine out of ten stars, calling it a "must see" that "has captured interest of people over generations".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

K. K. Rai, in his review for Stardust stated, "it can be said that the grandeur and vintage character of Mughal-e-Azam cannot be repeated, and it will remembered as one of the most significant films made in this country."<ref name="star">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Ziya Us Salam of The Hindu described Mughal-e-Azam as a film people will want to watch over and over again.<ref name="hinrev" /> Raja Sen of Rediff compared the film to Spartacus (1960) and said, "Mughal-e-Azam is awesomely, stunningly overwhelming, a magnificent spectacle entirely free of CGI and nonlinear gimmickry, a gargantuan feat of ... of ... well, of Mughal proportions!"<ref name="senraj">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Laura Bushell of the BBC rated the film four out of five stars, considering it to be a "benchmark film for both Indian cinema and cinema grandeur in general", and remarking that Mughal-E-Azam was an epic film in every way.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Naman Ramachandran, reviewing the film for the British Film Institute, noted the depiction of religious tolerance and said the film had a tender heart.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Nasreen Munni Kabir, author of The Immortal Dialogue of K. Asif's Mughal-e-Azam, compared the film to the Koh-i-Noor diamond for its enduring worth to Indian cinema.<ref name="kumar" /> Outlook, in 2008, and Hindustan Times, in 2011, both declared that the scene in which Salim brushes Anarkali with an ostrich feather was the most erotic and sensuous scene in the history of Indian cinema.<ref name="let" /><ref name="Outlook: Fallen Veil">Template:Cite journal</ref>

Accolades

At the 1961 National Film Awards, Mughal-e-Azam won the National Film Award for Best Feature Film in Hindi.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In the 1961 Filmfare Awards, Mughal-e-Azam was nominated in seven categories: Best Film, Best Director (Asif), Best Actress (Madhubala),<ref name="let" /> Best Playback Singer (Mangeshkar), Best Music (Naushad),<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Best Cinematography (Mathur), and Best Dialogue (Aman, Wajahat Mirza, Kamaal Amrohi, and Ehsan Rizvi), winning the awards for Best Film, Best Cinematography, and Best Dialogue.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Award	Category	Nominee	Result
8th National Film Awards	Best Feature Film in Hindi	K. Asif	rowspan="2" Template:Won
8th Filmfare Awards	Best Film
	Best Director		rowspan="5" Template:Nom
	Best Actress	Madhubala
	Best Music Director	Naushad
	Best Lyricist	Shakeel Badayuni for "Pyar Kiya To Darna Kya"
	Best Playback Singer	Lata Mangeshkar for "Pyar Kiya To Darna Kya"
	Best Dialogue	Aman, Wajahat Mirza, Kamal Amrohi, Ehsan Rizvi	rowspan="2" Template:Won
	Best Cinematography (B/W)	R. D. Mathur

Colourisation

File:Mughal-e-Azam BW Colour comparison.jpg

A comparison between the original (above) and colourised version

Mughal-e-Azam was the first black-and-white Hindi film to be digitally coloured and the first to be given a theatrical re-release.<ref name="Hindu colour">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The Sterling Investment Corporation, the negative rights owner<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and an arm of the Shapoorji Pallonji Group, undertook restoration and colourisation of Mughal-e-Azam and assigned Deepesh Salgia as Project Designer and Director.<ref>Template:Cite news</ref> They initially approached Hollywood executives for help, but found the sales quotations, ranging from $12–15 million, too high.<ref name="Hindu colour" /> In 2002, Umar Siddiqui, managing director of the Indian Academy of Arts and Animation (IAAA), proposed to enhance it digitally at a fraction of the cost.<ref name="Hindu colour" /> To convince the Shapoorji Pallonji Group, one of India's wealthiest companies,<ref name="et1" /> of the commercial viability of the project, the IAAA colourised a four-minute clip and showed it to them. They approved and gave the project the go-ahead. Shapoorji Mistry, grandson of producer Shapoorji Pallonji Mistry, thought it a fitting tribute to complete his grandfather's unfinished dream of colourising the entire film.<ref name="color1">Template:Cite news</ref>

The first step towards colourisation was the restoration of the original negatives, which were in poor condition owing to extensive printing of the negative during the original theatrical release.<ref name="color1" /> Costly and labour-intensive restoration was essential before colourisation could be carried out. The negative was cleaned of fungal growth, damaged portions were restored, and missing parts of frames were re-instated.<ref name="colrer">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> After cleaning, each of the 300,000 frames of the negative was scanned into a 10 megabytes-sized file and then was digitally restored.<ref name="cell" /> The entire restoration work was undertaken by Acris Lab, Chennai.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The dialogues in the original soundtrack were also in a bad state of preservation, which necessitated having the sound cleaned at Chace Studio in the United States. The background score and the entire musical track was recreated by Naushad and Uttam Singh.<ref name="True">Template:Cite journal</ref> For the songs, the original voices of the singers like Lata Mangeshkar, Bade Ghulam Ali Khan and Mohammed Rafi were extracted from the original mixed track and the same were recreated with re-recorded score in 6.1 surround sound.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

The process of colourisation was preceded by extensive research. The art departments visited museums and studied the literature for background on the typical colours of clothing worn at that time. Siddiqui studied the technology used for the colourisation of black-and-white Hollywood classics. The team also approached a number of experts for guidance and suggestions, including Dilip Kumar, production designer Nitin Chandrakant Desai, and a historian from the Jawaharlal Nehru University in Delhi.<ref name="color1" /> To undertake the colourisation, Siddiqui brought together a team of around 100 individuals, including computer engineers and software professionals, and organised a number of art departments. The entire project was co-ordinated by Deepesh Salgia, who partnered with companies including Iris Interactive and Rajtaru Studios to execute the colourisation.<ref name="cell" /> The task was controlled and supervised by the producers, who received daily updates and progress reports.<ref name="color1" />

The colourisation team spent 18 months developing software for colouring the frames, called "Effects Plus", which was designed to accept only those colours whose hue would match the shade of grey present in the original film. This ensured that the colours added were as close to the real colour as possible;<ref name="colrer" /> the authenticity of the colouring was later verified when a costume used in the film was retrieved from a warehouse, and its colours were found to closely match those in the film. Every shot was finally hand-corrected to perfect the look.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The actual colourisation process took a further 10 months to complete.<ref name="colrer" /> Siddiqui said that it had "been a painstaking process with men working round the clock to complete the project."<ref name="reellink" /> The exact cost of the colourisation is disputed, with a wide variety of estimates ranging from Template:INRConvert<ref name="reellink">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> to Template:INR50 million,<ref name="et1" /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> or Template:INR100 million.<ref name="color1" />

Re-releases

The film's colour version was released theatrically on 12 November 2004, in 150<ref name="cell" /> prints across India, 65 of which were in Maharashtra. The new release premiered at the Eros Cinema in Mumbai. Dilip Kumar, who had not attended the original premiere, was in attendance.<ref>Template:Cite news</ref> The colour version was edited to a running time of 177 minutes,<ref name="colrer" /><ref name="newrt">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> as compared to the original version's 197 minutes.<ref name="zulm">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The new release also included a digital reworked soundtrack, produced with the assistance of Naushad, the original composer.<ref>Template:Cite news</ref> The release on the festive Diwali weekend came with three other major releases: Veer-Zaara, Aitraaz, and Naach. It became the 19th highest grossing Hindi film of the year, behind Aitraaz and Veer-Zaara (the top grosser), but ahead of Naach.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Mughal-e-Azam became the first full-length feature film colourised for a theatrical re-release; although some Hollywood films had been colourised earlier, they were only available for home media. It was subsequently selected for seven international film festivals, including the 55th Berlin International Film Festival.<ref name="cell" /><ref>Template:Cite news</ref> Upon release, the film drew crowds to the cinemas,<ref name="kumar" /> with an overall occupancy of 90 per cent.<ref name="reellink" /> Subsequently, it completed a 25-week run.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> While some critics complained that the colours were "psychedelic" or "unnatural", others hailed the effort as a technological achievement.<ref name="reellink" /> Film critic Kevin Thomas of the Los Angeles Times remarked that while colourising was not a good idea for most black-and-white classics, it was perfect in this particular instance. He compared it to films by Cecil B. DeMille and to Gone With the Wind (1939) for its larger-than-life storytelling.<ref name="lat" /> The Guardian said that although the new version was an improvement, "the fake colours tend to look flat and brash, detracting from cinematographer RD Mathur's elegantly composed shots."<ref name="guardian" /> The BBC's Jaspreet Pandohar, observing that the film was "restored in appealing candy-colours and high quality sound", considered it a "cross between Gone With the Wind and Ben-Hur".<ref name="BBC">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Other critics have said that they prefer the black and white version.<ref name="Outlook: Fallen Veil" /><ref>Template:Cite news</ref>

In 2006, Mughal-e-Azam became only the fourth Indian film certified for showing in Pakistan since the 1965 ban on Indian cinema, and was released with a premiere in Lahore.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It was distributed by Nadeem Mandviwala Entertainment, at the request of Asif's son, Akbar Asif.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Legacy

Mughal-e-Azam is one of only two films directed by Asif; one of his unfinished projects was released posthumously as a tribute.<ref name="making" /> Over time the title has become part of Hindi film vernacular, used to describe a project that is taking too long to complete.<ref name="lasting" /> Art director Omung Kumar, who has designed sets for major Indian films such as Black (2005) and Saawariya (2007), said that he and others in his field look to Mughal-e-Azam as a source of inspiration for art direction.<ref name="fifty">Template:Cite news</ref> It has also been used as a model for the perfect love story, requiring directors to ensure lovers overcome obstacles.<ref name="lasting" /> Following her success in the film, Madhubala could have gone on to land further major roles, but she was advised not to overwork owing to her heart condition, and had to withdraw from some productions that were already underway.<ref name="art" /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

The Guardian in 2013 cited Mughal-e-Azam as a "landmark of cinema" despite its historical inaccuracies,<ref name="guardian" /> and the BBC stated in 2005 that it is "widely considered one of Bollywood's most iconic films".<ref name="BBC" /> Imtiaz Ali of The Times of India in 2010 called it the "most proto-typical, high involvement, expensive, passionate piece of work that Hindi cinema has ever produced", one that "set the standard for everything that will ever come after it".<ref name="lasting" /> It continues to be regarded by critics as the Indian equivalent of Gone with the Wind.Template:Sfn Filmmaker Subhash Ghai was quoted in 2010 as saying that a film like this could never be repeated: "Mughal-e-Azam is an all-time classic and has been the ultimate love story in Hindi cinema at all levels. So it will always remain alive for generations to come."<ref name="fifty" /> To commemorate the film's anniversary, the actor and producer Shah Rukh Khan had his company Red Chillies Entertainment produce a documentary video titled Mughal-E-Azam – A Tribute by a son to his father. Hosted by Khan, it includes interviews with Asif's family and Hindi film stars.<ref>Template:Cite news</ref> Artist M. F. Husain created a series of paintings for the video, in which he re-imagined some memorable scenes.<ref>Template:Cite news</ref> Interested in preserving the film for future generations, Khan noted that his father was originally cast in the film but did not complete it. When asked if Mughal-e-Azam should be remade, he retorted: "It is the mother of all films; mothers cannot be remade".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite news</ref> No sequels have been made, but Maan Gaye Mughal-e-Azam (2008) paid tribute with its title and by including in its plot part of the original stage play; it received very poor ratings from critics.<ref>Template:Cite news</ref> In October 2016, producer Feroz Abbas Khan premiered a stage play based on the film with a cast of over 70 actors and dancers at Mumbai's NCPA theatre.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Mughal-e-Azam ranks on the lists of top Indian films, including the 2002 British Film Institute poll of Top 10 Indian Films,<ref name="bfipoll">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and Anupama Chopra's 2009 list The Best Bollywood Films.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It is also included in IBN Live's 2013 list of the "100 greatest Indian films of all time".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Rotten Tomatoes has sampled 10 reviewers and judged 91% of them to be positive, with an average rating of 7.9 out of 10.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It was named the greatest Bollywood film of all time by a poll celebrating 100 years of Indian cinema by British Asian weekly newspaper Eastern Eye in July 2013.<ref>Template:Cite news</ref> It belongs to a small collection of films including Kismet (1943), Mother India (1957), Sholay (1975), and Hum Aapke Hain Koun..! (1994), that are watched repeatedly throughout India and are viewed as definitive Hindi films of cultural significance.Template:Sfnm Books and documentaries made about the film include Shakil Warsi's Mughal-E-Azam – An Epic of Eternal Love, published by Rupa in 2009.<ref name="bh2">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

See also

• List of historical drama films set in Asia
• 100 Crore Club
• 1000 Crore Club
• List of highest-grossing films in India
• 1960 in film
• Hindi films of 1960

Bibliography

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Further reading

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External links

• [https://www.imdb.com/{{#if:

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• Mughal-e-Azam at the British Film Institute (archived)Template:Better source needed
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