Synopsis
Mughal-e-Azam
is the love story between a commoner Anarkali (Madhubala)
and Prince Salim (Dilip
Kumar) the heir apparent. When his father Emperor Akbar
(Prithviraj Kapoor) finds out, he is furious and does his
best to thwart the romance saying a commoner could never be
the empress of India. Salim however is adamant and rebelliously
leads an army against his father. He is defeated in battle
and brought before Akbar who sentences him to death. Anarkali
agrees to sacrifice her life for Salim to be spared and after
spending the night with him is taken to be entombed alive
in a brick wall.
The film
The
Anarkali-Salim legend is unsupported by historic evidence
but the story of thwarted youthful love in conflict with
convention and authority provides rich dramatic material
with immense popular appeal. It is no surprise therefore
that this popular legend has been filmed many times on the
silver screen but Mughal-e-Azam is perhaps the definitive
version of the doomed love story.
Mughal-e-Azam
hit the screens in 1960 after almost fifteen years in the
making, its initial cast being Chandramohan, Nargis
and Sapru in the roles finally played by Prithviraj
Kapoor, Madhubala and
Dilip Kumar.
Produced at a cost of Rs 1.5 crores in those days filming
took over 500 working days! It was easily the costliest Indian
film till date. Tailors were brought from Delhi to stitch
the costumes, Hyderabad goldsmiths made the jewellery, Kolhapur
craftsmen the crowns, Rajasthani ironsmiths fabricated the
shields, swords, spears, dagger and armour, specialists from
Surat-Khambayat were employed for the exquisite zardosi embroidery
on the costumes while the elaborate footwear was ordered from
Agra! For one of the songs, Ae Mohabbat Zindabad there
was a chorus of 100 singers used!
Premiered
simultaneously in 150 theatres all over the country the film
became the biggest money grosser in those times. In a rave
review, Filmfare wrote
"Mughal-e-Azam
is a tribute to the imagination, hard work and lavishness
of its maker…For its grandeur, its beauty and the performances
of the artistes it should be a landmark in Indian films."
The
breathtaking battle scenes, the sumptuous splendour of the
Mughal Court, some of the most seductive song and dance ensembles
ever filmed,
the confrontation scenes between Akbar and Salim - the best
of Mughal-e-Azam has never been surpassed and is the
finest testament to K. Asif's cinematic talents.
That
is not to say the film is without its flaws. In his anxiety
to show Akbar as a compassionate king and to provide his film
with a so-called happy ending Asif changed the popular legend
by letting Anarkali escape through the false bottom of the
wall that opens out into a tunnel unknown to Salim. This however
defies the internal logic of the tragic love story.
The
performances too are a mixed bag. Dilip Kumar looks strangely
uncomfortable in the role of Salim and Prithviraj Kapoor goes
way over the top as Akbar. However his robust voice and regal
bearing still carry him through. At the other end of the coin
Durga Khote is splendid as Rani Jodabai caught between her
husband and son and Madhubala is the life of the film as Anarkali.
An immensely underrated actress, Mughal-e-Azam showed
off the finely modulated depth she could bring to her performances
if given the opportunity. It is without doubt the greatest
performance of her career.
Of
course the highs far outweigh the lows.
Naushad's
superb musical score stands out particularly
the two songs by noted classical singer
Bade Ghulam Ali Khan (Shubh Din Aayo
and Prem Jogan ke Sundari Pio Chali).
It was indeed shocking that he lost the
Filmfare award that year to Shankar-Jaikishen
for their populist score in Dil Apna
Aur Preet Parayi (1960). R.D.
Mathur's expansive camerawork lifts
the film even higher particularly the song
Pyar Kiya to Darna Kya shot in colour
in the famous Sheesh Mahal or Palace of
Mirrors. The film deservedly won Mathur
the Filmfare Award for Best Cinematography.
And last but not least, Mughal-e-Azam
has perhaps the most sensitively portrayed
erotic scene ever on the Indian screen as
Dilip Kumar tickles the impassioned face
of Madhubala with a white feather shot mainly
in extreme close-ups of the two. Magical!
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