65 Years of Mughal-E-Azam: Interesting Facts About Dilip Kumar, Prithviraj Kapoor & Madhubala’s Film
16 Years in the Making
The Challenge of Lighting
The Most Expensive Film of Its Time
Madhubala Was Paid The Highest Signing Amount
Madhubala and Dilip Kumar’s Tumultuous Relationship
Secular Symbolism
Authenticity in Every Frame
Jalal Agha’s Debut
A Grand Pan Indian Collaboration
Becoming Akbar
Record-Breaking Release and Grand Premiere
Filmfare Awards
Filmfare’s 1960 Review
16 Years in the Making
Great things don’t happen overnight. K Asif read a play called Anarkali, written by Imtiaz Ali Taj in 1944. He originally decided to cast Chandramohan, D.K. Sapru, and Nargis for the roles of Salim, Akbar, and Anarkali, respectively, before the roles were made immortal by Dilip Kumar, Prithviraj Kapoor, and Madhubala. However, Chandramohan died of a heart attack in 1949, and after partition, Shiraz Ali, the financier, migrated to Pakistan. Following this, Shapoorji Pallonji agreed to finance the film despite knowing nothing about film production. The shooting with the present cast began in the early ’50s, and it was finally released in 1960, almost 16 years after the idea was first conceived. The crucial writing team comprised Asif, Aman (Zeenat Aman’s father), Wajahat Mirza, Kamaal Amrohi and Ehsan Rizvi.
The Challenge of Lighting
The lighting proved to be the most troublesome aspect, especially for the Sheesh Mahal sequence, which was made using thousands of small pieces of Belgian glass, designed by workers from Firozabad. K Asif came up with the idea of coating the glass with a thin coat of wax to reduce the intensity of the reflection. Cinematographer R. D. Mathur then used strategically placed strips of cloth to implement bounce lighting and reduce glare.
The Most Expensive Film of Its Time
The film was made at a cost of over Rs 1.5 crores, and the makers went way beyond the budget. It was the most expensive Hindi film ever produced back in its time. The Sheesh Mahal set, which took two years to build, cost around ₹15 lakhs in 1960, which was more than the budget of an entire Hindi film from that time.
Madhubala Was Paid The Highest Signing Amount
The role of Anarkali was first offered to Nutan, followed by Suraiya and then Madhubala. The actress was advanced paid Rs 1 lakh upon signing the film, which was the highest sum for any actor back then.
Madhubala and Dilip Kumar’s Tumultuous Relationship
Salim brushing Anarkali’s face with a feather is considered to be the most romantic scenes ever filmed, but Madhubala and Dilip Kumar were reportedly not talking to each other. Her relationship with the late actor was said to have ended at one point during the long and delayed shooting schedule. In his autobiography, Dilip Kumar mentioned that despite not being on talking terms during that scene, they worked as professionals.
Secular Symbolism
Mughal-E-Azam was also one of the first films post-partition to portray the religious tolerance between Hindus and Muslims. Some instances in the film depicted secularism, such as Hindu Queen Jodhabai’s presence in Akbar’s court or Anarkali singing a Hindu devotional song. In another scene, Akbar took part in Janmashtami celebrations and also rocked a swing with an idol of Lord Krishna. It acted as a cultural bridge between India and Pakistan as the colour version of the film made history as the first Indian film to be released in Pakistan after the ban on Hindi films following the 1965 Indo-Pak war.
Authenticity in Every Frame
In the scenes involving an imprisoned Anarkali, the chains Madhubala wore were authentic. They weighed a lot, and the late actress wore it despite her already existing health issues to make the scenes more realistic. The battle sequence between Akbar and Salim also featured 2000 camels, 4000 horses and 8000 troops, mainly from the Indian Army’s Jaipur Cavalry. The scene also had some real soldiers. For the song Ae Mohabbat Zindabad, Mohammad Rafi had a backup chorus of 100 singers!
Jalal Agha’s Debut
Jalal Agha made his debut in Hindi cinema by playing young Jehangir in Mughal-E-Azam. A young Zakir Hussain was also considered for the role. The late tabla maestro later said, “I was considered for the role of the young Dilip Kumar. But the role was eventually played by Jalal Agha.”
A Grand Pan Indian Collaboration
To bring his vision to life, K Asif got artisans from every corner of India to work on Mughal-E-Azam. Makhanlal and Company and Delhi-based tailors handled the intricate Mughal costumes. The footwear came from Agra, a city steeped in Mughal history, and the elaborate crowns were created in Kolhapur. The shields, swords and other armours were skillfully forged by blacksmiths of Rajasthan.
Becoming Akbar
Prithviraj Kapoor didn’t become a legend just like that. To play the role of Akbar, he surrendered himself to the script and director Asif. He had his way to get into the character. Before putting on the costume and makeup, he would say, “Prithviraj Kapoor ab jaa rahaa hai” (Prithviraj Kapoor is now going). After his makeup was done, he’d again announce, “Akbar ab aa rahaa hai” (Akbar is now coming). The actor also had to wear heavy costumes and walk barefoot in the desert for a sequence, and ended up with blisters on his feet.
Photographer Lance Dane noted that Kapoor, at times, struggled to remember his lines, and one scene required as many as 19 takes. But he was determined to get it right.
Record-Breaking Release and Grand Premiere
It is said that people queued all day for tickets. Nearly 100,000 people gathered outside Maratha Mandir a day before the bookings opened. Mughal-E-Azam became the highest-grossing Indian film and held this title for 15 years. If reports are to be believed, some people also waited in queues for four to five days to get the tickets. The premiere was also an event to remember. It was held at Maratha Mandir, which had a capacity of around 1100. The entrances were decorated to resemble a Mughal palace with a huge cutout of Prithviraj Kapoor erected outside it. The Sheesh Mahal set, which took two years to erect, was transported to the hall from Mohan Studios so that the audience could experience the grandeur. The makers sent out Royal Invites for the premiere night, almost replicating the Akbarnama.
Filmfare Awards
At the 8th Filmfare Awards, Mughal-E-Azam bagged eight nominations in the categories – Best Film, Best Director, 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) and Best Cinematography (B/W) (R.D. Mathur). However, it won only two awards for Best Dialogue and Best Cinematography.
Filmfare’s 1960 Review
An excerpt from Filmfare’s review of Mughal-E-Azam reads, “The colour sequences are very good and those of the Sheesh Mahal are magnificent. R.D. Mathur, who photographed the film, deserves special kudos for his work. Art director M.K. Syed has graphically recaptured the grandeur of the Moguls and has vividly brought to the screen one of the most glorious periods of Indian History. Naushah Ali’s music is hauntingly beautiful and is in keeping with the spirit of the film. Shakeel Badayuni’s lyrics are inspiring. The dialogue, written by Aman, Kamal Amrohi, Ehsan Rizvi and Wajahat Mirza, has the authentic flourish and creates a tremendous impact on the audience. The words are apt in every situation. The dialogue is one of the major highlights of the film. The editing is excellent, for a brisk pace has been maintained throughout. The superbly choreographed dances are superbly put over. Special mention must be made of associate director S.T. Zaidi, who was one of the live-wires behind the production.”
Also Read: 100 Filmfare Days: Day 26 – Mughal-e-Azam
