The piece highlights iconic sequences such as the Sheesh Mahal scene, where a million mirrors posed unique filming challenges, and the epic war scenes that rivaled Hollywood productions. It examines R.D. Mathur’s masterful cinematographic techniques, including his use of lighting to convey emotion and power dynamics between characters. The article also touches on the film’s lasting impact on Indian cinema, inspiring future generations of filmmakers. Through a blend of historical context, technical details, and behind-the-scenes anecdotes, this exploration of “Mughal-e-Azam” offers readers a comprehensive understanding of how meticulous cinematography can elevate a film from mere entertainment to a timeless work of art, continuing to captivate audiences over six decades after its initial release.
“Jab pyaar kiya to darna kya
Jab Pyaar kiya to darna kya”
The bravery of the lover entwined in these lyrics was the same bravery that K Asif exhibited during the production of the all-time classic cinema—the magnum opus of Bollywood—Mughal e Azam. It cost approx 1.5 crore in the 1950s, when most Indian films were created for 5-10 percent of this cost. Mughal-e-Azam is the kind of cinema that every Indian filmmaker hopes to make, but no other movie has ever been quite like it.
A world of love, revolt, and extravagance awaits the audience as the curtains lift in a dimly lit theater in 1960—the heart of the Mughal Empire. The film reel flickers to life, unveiling a world of unimaginable beauty. A million small mirrors glitter in the palace hallways, reflecting not only light but also Akbar’s unwavering power and Anarkali’s unwavering love. This was Mughal-e-Azam, a visual symphony where every frame embodies the spirit of a masterpiece.
However, there was an ongoing struggle going on behind the scenes of this masterpiece. A conflict between vision and reality, not between a father and son, but between a director and a cameraman. The film’s enormous scope, colossal sets, and iconic lighting were all made possible by a combination of remarkable filming methods and sheer effort. In addition to the love story between Salim and Anarkali, Mughal-e-Azam tells the story of the difficulties K. Asif, the cinematographer R. D. Mathur, and his team had in producing one of the most visually stunning movies in Indian cinema history.
(Poster Of Mughal e Azam, Source: Wikicommons)
The Color Conundrum: Black and White vs. Technicolor
The Indian cinema industry had not fully embraced color when K. Asif started filming Mughal-e-Azam in the late 1940s. Mohan Studio in Mumbai, Thane, was the location of much of the filming. The Tardeo laboratory processed the prints. When color film became available in India, around 1957, Asif shot one of the best song numbers in Indian cinema in color with Sterling Investment’s approval. Asif reshot three additional reels in color a year later, thrilled with the outcome. After that, he desired to reshoot the entire movie in color.
The movie’s distributors, however, could not wait any longer and instructed Asif to release the movie in its current format, which is 15% in color and 85% in black and white. After being released in 1960, the movie started its historic run at the box office. However, the film’s replays were the most intriguing aspect of its box office performance. As late as early 1999, the movie was still doing well in theaters.
A number of people who were engaged in the film’s production, including Mr. Pallonji Mistry, the then chairman of Sterling Investment, Mr. Naushad, the music director, and Mr. Dilip Kumar, who played Salim, had seen the movie in color and convinced the studio to rerelease the movie in color. A lot of the movie’s supporters also wrote us letters endorsing this notion. Colorizing for a DVD release was, however, denied vehemently . The film Mughal-e-Azam is renowned for its opulence and scope. Therefore, a rerelease limited to the small screen was dismissed. The objective was actually colorization for a 35mm theatrical release.
Secondly, a method to restore the film’s original colors was required, as opposed to standard colorization. The Indian Academy of Arts and Animation was asked to develop the technology and process for colorizing Mughal-e-Azam for a big-screen release. By mid-2003, the software was finished, and in October of the same year, the film’s colorization got underway. Chennai’s Iris Interactive Laboratories completed the restoration work.
Thus, in 2004, Mughal-e-Azam received extensive restoration and colorization. Led by Deepesh Salgia, the team sought not just to conserve but also to improve the film for modern audiences. The goal was to stay loyal to K. Asif’s original concept while using modern technologies to bring back faded colors and textures.
One of the most difficult aspects of the restoration process was matching the colors used in the Technicolor sections of the picture to the black-and-white scenes. This required consulting historical records to verify accuracy. For example, while colorizing the iconic rose Anarkali holds, the crew realized through historical study that red roses were not native to India during the Mughal era, thus the rose had to be pink.
Sheesh Mahal: Crafting the Palace of Mirrors
The Sheesh Mahal sequence in Mughal-e-Azam is arguably the most famous scene in Indian cinema history. It’s the scene where the stunning Madhubala portrays Anarkali, who bravely sings “Pyar Kiya To Darna Kya” in front of mirrors that reflect both her beauty and her unwavering spirit. The Palace of Mirrors, also known as the Sheesh Mahal, was an architectural wonder created to transport viewers to the lavishness of the Mughal court.
For the crew, however, shooting this sequence was nothing short of a nightmare. Everything was reflected in the palace, which was constructed with more than a million tiny mirrors, including the lights, the crew, and the camera. The cinematographer for the movie, R. D. Mathur, had to make sure that these reflections added to, rather than took away from, the scene’s visual appeal. It is stated that K. Asif would meticulously examine every angle to make sure the camera was not visible in the reflection. The team occasionally had to conceal themselves behind pillars or relocate to awkward angles as Mathur figured out intricate camera angles to guarantee that the reflections exclusively showed Madhubala’s amazing performance.
But the troubles didn’t stop there. The mirrors in the Sheesh Mahal also reflected the bright studio lights, which could easily wash out the colors and cause glares. To counteract this, Mathur used diffused lighting methods, enveloping the light sources in soft filters to produce a glow surrounding Madhubala without dominating the reflecting surfaces. Every action had to be choreographed with precision, as even a minor change in lighting may spoil the shot.
Famous incidents from the filming include K. Asif being so dissatisfied with an early take that he wanted the whole Sheesh Mahal set to be destroyed and rebuilt—at a cosmic cost of 15 lakh rupees and a labor of 2 years. The director’s perfectionist tendencies were well known, but this gamble paid off. The end result was a magnificent moment, with Madhubala seemingly floating in an ocean of mirrors, her every movement replicated infinitely, evoking a sensation of eternity—both in love and defiance.
War on the Battlefield, War Behind the Camera
The war scenes in Mughal-e-Azam are as epic as the film’s emotional elements. These dramatic war scenes show the clash between Akbar’s imperial army and Salim’s rebellion. From cavalry rushes to sword fights, the magnitude of the battlefield is astounding, and each frame vibrates with the weight of the struggle.
- Asif envisioned these sequences as big visual spectacles to rival Hollywood’s best. However, putting them into action proved to be extremely difficult. The sets were massive, the extras numerous, and the logistics mind-boggling. According to R. D. Mathur, filming the war scenes needed days of meticulous preparation. “We had horses, elephants, and hundreds of extras. It wasn’t just about setting up the camera; it was about orchestrating an entire army,” he said in an interview.
To convey the vastness of the battlefield, Mathur combined lengthy tracking shots with wide-angle lenses. However, the details held the magic. The shimmering swords in the heat of battle were highlighted with precise lighting to catch the light just right, making them glimmer against the backdrop of a crimson-red sunset. The swirling dust raised by the horses’ hooves was purposefully shot at slower speeds to create a more dramatic effect. The director intended for every detail to evoke the majesty of Mughal battle, whether it be an elephant charging or a sword lifted in rage.
One scene in particular strikes out: while the armies battle, we observe Akbar (Prithviraj Kapoor) observing from a hill in the distance, a lone figure against the vastness of the battlefield. Slowly focusing on the subject, the camera captures both the emotional and physical distance between the emperor and his son’s revolt. Without uttering a single word, the image captures the weight of parenthood, dominion, and authority. To ensure that Kapoor’s figure was just slightly shadowed to highlight the internal tension, K. Asif and Mathur spent days setting up this one picture.
(The Battle Scene From the movie, Source: Google Photos)
Techniques of the Masters: Lighting, Composition, and Depth
There was more to Mughal-e-Azam’s cinematography than merely expansive war scenes and opulent sets. The film’s thoughtful use of composition and lighting contributes significantly to its emotional depth. The genius of R. D. Mathur was in the way he used light to express emotion, strength, and vulnerability.
For example, the lighting is purposefully harsh at the crucial confrontation between Akbar and Salim . The softer light on Salim suggests the prince’s inner turmoil, while the shadows projected over Akbar’s face depict his firm resolve. Every photo captures the emotional turbulence that lies under the surface. In a well-known image, Salim’s silhouette boldly confronts the approaching Akbar, with the harsh lighting highlighting the widening distance between the father and son.
Salim and Anarkali’s love moments, on the other hand, are illuminated in a gentle, diffused light that casts subtle shadows across their features. To emphasize the closeness of these moments, Mathur employed close-ups and low angles, catching every fleeting feeling and stray gaze. When contrasting the overpowering grandeur of the Mughal court with the sensitivity of Salim’s love and Anarkali’s vulnerability, the lighting played a crucial role.
Mughal e Azam’s Re-release and it’s Legacy
With much excitement, the movie was re-released on November 12, 2004, throughout India. November 10th saw the film’s premiere, which was just as lavish and well-staged as the August 1960 premiere. The print was transported to the Eros theater in a procession led by a decked elephant. The largest show of the year was witnessed by a who’s who of Bollywood. “Wow!” “excellent!” and “unbelievable” were the responses. On November 12, the day of Diwali, the vibrant light festival in India, the movie was re-released in 150 theaters and debuted to packed houses all over the country.
More than 60 years after its debut, Mughal-e-Azam continues to fascinate filmmakers and audiences alike. With its meticulous attention to color, lighting, and composition, the film’s cinematography is still a masterwork of visual narrative. The epic scope and effective use of color to heighten the emotional depth of the picture have served as inspiration for directors such as Sanjay Leela Bhansali.
Mughal-e-Azam’s cinematography is a work of art as well as a technological marvel, with each shot telling a unique tale. The images from the movie stick in your head long after the credits have rolled, whether it’s the Sheesh Mahal’s dazzling mirrors, the blood and dust of the battlefield, or the muted glow of an illicit relationship. It still continues to be a monument to the storytelling power of cinematography, showing us that the real magic of film is not only in what is spoken but also in what is seen and how it is seen.
REFRENCES
SALGIA, DEEPESH. “Mughal-e-Azam: Restorationcum-Colorization for 35mm Release.” The Moving Image: The Journal of the Association of Moving Image Archivists, vol. 5, no. 1, 2005, pp. 128–35. JSTOR, http://www.jstor.org/stable/41167191.
ZANKAR, ANIL. “CHANGING EYES OF THE BEHOLDER…” Bulletin of the Deccan College Research Institute, vol. 62/63, 2002, pp. 323–30. JSTOR, http://www.jstor.org/stable/42930627.
https://www.thebombaytalkiesstudios.com/post/hidden-truth-of-mughal-e-azam
https://indiancinema.sites.uiowa.edu/mughal-e-azam
https://medium.com/@abhrosingharoy/a-study-of-mughal-e-azam-51acedd4efc7
