This is published in Today's Hindustan Times Jaipur local section (not avaialble on
net)... This is the distributor of M-E-A in 60s talking to reporter Ashish
Mehta. Interestingly the film is being distributed again by him and it will
open in the same theator it opened 44 years back.
enjoy the reading..
Pavan
A film distributor rises from the rust - Hindustan Times..
K Asif's Mughal-E-Azam is slated to hit the silver screen again this diwali
with innovations. Interestingly, the person who had distributed the film in
Rajasthan in 1960, Shyam Sunder Jalani, now in his 70s, is again
distributing the film here.
Jalani is nostalgic and upbeat about becoming a part of history. The moment
he came to know that this film would be developed with Dolby sound and in
colour prints, he recalled the days when he was young and had assisted his
father in distribution of this film.
Sitting in his office, he recalls, "Zabardast craze tha. Those were the days
when we had to run three shows a day. Expecting a rush we asked Prem Prakash
Cineam to run four shows."
But an interesting rumor about blackmarketing of the tickets affected
initial collections, he adds. About the rumor he says "Logon ne socha ki sab
ticket bik gaye hain aur log ghar se nikle hi nahin."
"I was scared because I had bought the rights of this film for an
astronomical price as compared to films sold those days. But after a few
days it started registering houseful run and continued like that for 10
weeks", he says.
He shared some incidents related to the film. "As we had released seven
prints of this film in Rajasthan, we went to Mumbai to get the gramophone
records from K. Asif. Because during the intervals, cinema had to play the
songs of another film running then, Chaudhavin Ka Chaand. Though K Aasif was
not willing to get us the records, he finally gave us 25 copies."
"This film has celebrated its silver jubilee in other parts of Rajasthan and
had a run of 19 weeks in Jaipur". After the film's release, he says, "One of
my friends had watched this movie in Bikaner. Iasked him for comments and he
said he had seen the movie thrice but could not understand what was so
special about it."
He further informs, "We had released this movie in Prem Prakash Cinema then,
and now after 44 years, the cinema hall owner expresses his willingness to
screen it again"
Full Version: Mughal-e-azam Revival
From "The Sunday Herald", October 17:
MICHAEL PATRAO recalls some of the golden moments from the making of the all-time Indian movie classic Mughal-e-Azam which is now ready to mesmerise the audiences once again with added digital print and sound.
The all-time great of Indian cinema, Mughal-e-Azam, will hit the screens in November in a new avatar. Taking the advantage of the digital technology, the visual and audio experience of the film has been enhanced by restoration, colourisation and re-recording of sound, while maintaining the original magic.
Speaking to Deccan Herald, Deepesh Salgia, Project Director of the new version of the film said that the colourisation of the film involved three lakh files of 10 megabytes each and the studio work involved over 150 professionals. The project in a way is realising the unfinished dream of director K Asif, who wanted to see his Mughal-e-Azam in colour.
In 1951 the shooting of the original film began in black and white technology. By 1957, colour technology came to India and Asif decided to film one song in colour (the Sheesh Mahal song). Seeing the end result of the colour song, Asif was very impressed and decided that he would shoot the last three reels of the film in colour, so that people remember it as a colour film. He also intended on shooting the entire film in colour. Considering that Mughal-e-Azam was in the making for nine years, the distributors of the film were quite perturbed on hearing Asif's plans. They showed their disapproval on waiting any longer and wanted to release the film in its existing form (85 per cent in black-and-white and 15 per cent in colour).
The film, based on the legend of the danseuse Anarkali's doomed love for Prince Salim, had magnificent sets of epic dimensions, stupendous battle scenes and masterful dialogues. Karimuddin Asif (1924-1971) commenced work on his magnum opus, Mughal-e-Azam in 1944.
The original financier of the film then was Shiraz Ali, owner of Mahalakshmi Studio. While the movie was still in the making, in 1946 the actor who was playing Akbar died and in 1947, post the partition of India, Shiraz Ali shifted to Pakistan. Asif was spurned on to restart Mughal-e-Azam after Filmistan launched its own Anarkali. He approached Shapoorji to finance the film. Over the next eight years, Asif spared no expense to realise the most grandiose of his celluloid dreams.
The famed Sheesh Mahal set alone cost as much as a small film. As many as 4,000 horses and 8,000 men were deployed for the panoramic battle scene. Despite her weak heart, the heroine, Madhubala, agreed to be shackled in heavy chains that brought her to her knees after every shot. The film was released in 1960 with a premiere marked by unprecedented pomp, where Prithiviraj Kapoor arrived on an elephant in full battle regalia. The fiery dialogue between Prithiviraj Kapoor and Dilip Kumar in the film became part of the national vocabulary.
The colours used initially for the original film were Technicolour and not Eastman colour. The colours used in the Sheesh Mahal song originally were not true colours but the new version introduces true colours, explains Salgia.
The technology has been specially developed in India for this film taking almost one-and-a-half years to develop the technology and it took 10 months for the process of colourisation, he adds.
“The technology was customised in such a manner that it accepts only those colours that could have been there during the shoot, thereby retaining the original character and aesthetics of the movie. For instance, there was a coat of Dilip Kumar that needed to be colourised. After few days, the old coat was found in the Mughal-e-Azam godown having the same colour as depicted by the software.”
Says Salgia about the sound restoration: “When we saw the film in the theatre we realised that the songs had bad acoustics. The original track was a mixed track. Perhaps for the first time an old mixed track has been converted into a true Dolby digital. This movie will now have surround sound (right, left and back). Naushad Ali, the original music composer, has been involved in the process of digitally remastering the music. The music has been completely re-recorded. Though the voices of the artistes are the same, the instruments have changed and real Dolby effect has been created. The classical instrumentalists were specially flown from Chennai for this. The audiences will feel like they are sitting in Akbar's court listening to Tansen's music.”
If the response to the new avatar of Mughal-E-Azam is good, then more such classics are sure to make a comeback with added glitz and glimmer
MICHAEL PATRAO recalls some of the golden moments from the making of the all-time Indian movie classic Mughal-e-Azam which is now ready to mesmerise the audiences once again with added digital print and sound.
The all-time great of Indian cinema, Mughal-e-Azam, will hit the screens in November in a new avatar. Taking the advantage of the digital technology, the visual and audio experience of the film has been enhanced by restoration, colourisation and re-recording of sound, while maintaining the original magic.
Speaking to Deccan Herald, Deepesh Salgia, Project Director of the new version of the film said that the colourisation of the film involved three lakh files of 10 megabytes each and the studio work involved over 150 professionals. The project in a way is realising the unfinished dream of director K Asif, who wanted to see his Mughal-e-Azam in colour.
In 1951 the shooting of the original film began in black and white technology. By 1957, colour technology came to India and Asif decided to film one song in colour (the Sheesh Mahal song). Seeing the end result of the colour song, Asif was very impressed and decided that he would shoot the last three reels of the film in colour, so that people remember it as a colour film. He also intended on shooting the entire film in colour. Considering that Mughal-e-Azam was in the making for nine years, the distributors of the film were quite perturbed on hearing Asif's plans. They showed their disapproval on waiting any longer and wanted to release the film in its existing form (85 per cent in black-and-white and 15 per cent in colour).
The film, based on the legend of the danseuse Anarkali's doomed love for Prince Salim, had magnificent sets of epic dimensions, stupendous battle scenes and masterful dialogues. Karimuddin Asif (1924-1971) commenced work on his magnum opus, Mughal-e-Azam in 1944.
The original financier of the film then was Shiraz Ali, owner of Mahalakshmi Studio. While the movie was still in the making, in 1946 the actor who was playing Akbar died and in 1947, post the partition of India, Shiraz Ali shifted to Pakistan. Asif was spurned on to restart Mughal-e-Azam after Filmistan launched its own Anarkali. He approached Shapoorji to finance the film. Over the next eight years, Asif spared no expense to realise the most grandiose of his celluloid dreams.
The famed Sheesh Mahal set alone cost as much as a small film. As many as 4,000 horses and 8,000 men were deployed for the panoramic battle scene. Despite her weak heart, the heroine, Madhubala, agreed to be shackled in heavy chains that brought her to her knees after every shot. The film was released in 1960 with a premiere marked by unprecedented pomp, where Prithiviraj Kapoor arrived on an elephant in full battle regalia. The fiery dialogue between Prithiviraj Kapoor and Dilip Kumar in the film became part of the national vocabulary.
The colours used initially for the original film were Technicolour and not Eastman colour. The colours used in the Sheesh Mahal song originally were not true colours but the new version introduces true colours, explains Salgia.
The technology has been specially developed in India for this film taking almost one-and-a-half years to develop the technology and it took 10 months for the process of colourisation, he adds.
“The technology was customised in such a manner that it accepts only those colours that could have been there during the shoot, thereby retaining the original character and aesthetics of the movie. For instance, there was a coat of Dilip Kumar that needed to be colourised. After few days, the old coat was found in the Mughal-e-Azam godown having the same colour as depicted by the software.”
Says Salgia about the sound restoration: “When we saw the film in the theatre we realised that the songs had bad acoustics. The original track was a mixed track. Perhaps for the first time an old mixed track has been converted into a true Dolby digital. This movie will now have surround sound (right, left and back). Naushad Ali, the original music composer, has been involved in the process of digitally remastering the music. The music has been completely re-recorded. Though the voices of the artistes are the same, the instruments have changed and real Dolby effect has been created. The classical instrumentalists were specially flown from Chennai for this. The audiences will feel like they are sitting in Akbar's court listening to Tansen's music.”
If the response to the new avatar of Mughal-E-Azam is good, then more such classics are sure to make a comeback with added glitz and glimmer
Wish they bring out all such classics.
First audio and now visual revival?? Such sacrilege!!! 
Actually, I am all for it!
T
Actually, I am all for it!
T
That should be exciting!
Here is that classic romantic scene ,in colour
a lot of the songs are longer...i think tempo has been slowed down. Pyar kiya to darna kiya 8:32mins(including classical intro). Teri Mehfil min qismat-7:04min naming a couple. Havent heard the rest yet. IMHO they should of just remastered the original soundtrack rather then making changes in the music.
I wish I could see some day Chalti Ka Naam Gaadi in Color with songs remastered in 5.1 Dolby AC3. It would be a dream come true.. 
Guru & Madhubala in one of their best portrayals !!
Guru & Madhubala in one of their best portrayals !!
Mudit even Half Ticket for that matter!!!!!!!!!
Well I did see the promos of Mughal-e-azam and yes the digitroniks is excellent!!
Great revival indeed
But I still like to see Madhubala in black and white
N
Well I did see the promos of Mughal-e-azam and yes the digitroniks is excellent!!
Great revival indeed
But I still like to see Madhubala in black and white
N
From: The Hindustan Times
Mughal-e-Azam returns, now in full colour
Meenakshi Sinha
Mumbai, November 11
Dilip Kumar and his wife Saira Banu arrive for the screening of the digitised version of Mughal-e-Azam in Mumbai on Wednesday, November 10, 2004. (AP)
Mughal-e-Azam created history on Wednesday evening as the only film boasting a second premiere after forty four years of its first release.
Love takes over the silver screen and touches the lives of commoners as Mughal-e-Azam walks the earth again - this time in life like colours and sound serenading in glory and befitting a Mughal emperor.
Never perhaps in the history of Hindi film industry has a film that got rave accolades in India and abroad. The film became the talking point not only for that era, but continues to mystify even today.
Little wonder then, when the film held its second premiere in Mumbai's Eros theatre, the celebrity turn out was unmatched.
The red carpet saw the early arrivals of stalwarts Dilip Kumar (Shehzada Salim from the film) with wife Saira Banu, the quintessential beauty Rekha, followed by Boney Kapoor and wife Sridevi, Anil Kapoor with wife Sunita, Raza Murad, Tabu, Sanjay Kapoor with wife Maheep, Govinda, Akshay Khanna, Rani Mukherji, Taurani borthers from Tips, and many more.
Describing the film as a phenomenon the imitable Dilip Kumar called for a closing of the chapter that was the Mughal-e-Azam. Says he, "the film was a afsana (a phenomena) which was narrated on the big screen with K Asif's (the director of the film) vision. I can see that everybody is still mad about the film including me. But it was the junoon (madness) of Asif which saw the completion of this historic film. No one else could have made it the way he visualised it and made it. However, I would appeal to all to close this chapter now. The stars of that era are no longer alive and the film of this grandeur cannot be made."
A phenomena indeed - as was visible from the attempt to re-create that grandeur at the premiere. Amidst elephants decked in royal Mughal style, the prints of the all colour film came in a palki decked with flowers. Each guest was welcomed to the sound of trumpets and ushered in the theatre with assistance of courtesans dressed in Mughal clothes. The theatre was decorated in the Mughal Durbar style where the predominant colour was a splash golden as was used in the film. Amidst all the splendour, the film started to the sound of fireworks and crackers - a remarkable tribute to its erstwhile artists and makers on the eve of Diwali.
Though the Kapoors were conspicuous by their absence, Kareena Kapoor (from the Kapoor Khandan) in a press interview a day before had clearly indicated her preference to watching the film which she considers a masterpiece. "A film like Mughal-e-Azam cannot be made nor can any movie ever match up to this film. My great grandfather - Prithivirajji played the role of Shehanshah Akbar and I have yet to see any artist match his style and eulogy for the historical character like he did. The dialogues, songs, picturisation, all the artists, the music - everything of the film remains unmatched" says she.
Agrees Tabu, "I have seen the film twice, but then I was a little girl. I'm looking forward to seeing the film in all colour and stereo sound."
For Govinda though it was a time to pay tribute to the biggest blockbuster of Hindi film industry. "The film is a milestone and a yardstick for all. There can never be another Mughal-e-Azam as there can never be Dilip Kumar - Madhubala to create that magic moment" says he.
A film that has hardly any loopholes and is considers a yardstick - a point of study for many a cinema buffs - Mughal-e-Azam can safely be stated as a film that cuts across generations where young and old alike share the euphoria of association with revered zeal and excitement.
Meanwhile for many it was a time back in history. "This is the second time that I'm attending the premiere of Mughal-e-Azam. The first time was about forty four years ago when the film was released in Maratha Mandir on August 5, 1960. I accompanied me father Murad, who played the role of Raja Mansingh in the film. Then I was only nine years old" says Raza Murad - the formidable villain and character artist of Hindi films.
A film by Sterling Investment Corporation Ltd, Mughal-e-Azam releases nationwide - this time by Sanjay Gandhi and Boney Kapoor for Raksha Distributors in full colour and Dolby stereo sound - a humongous task which took over two years with digitally mastered technology from Hollywood to match the right colours and sound of the erstwhile epic saga.
Mughal-e-Azam returns, now in full colour
Meenakshi Sinha
Mumbai, November 11
Dilip Kumar and his wife Saira Banu arrive for the screening of the digitised version of Mughal-e-Azam in Mumbai on Wednesday, November 10, 2004. (AP)
Mughal-e-Azam created history on Wednesday evening as the only film boasting a second premiere after forty four years of its first release.
Love takes over the silver screen and touches the lives of commoners as Mughal-e-Azam walks the earth again - this time in life like colours and sound serenading in glory and befitting a Mughal emperor.
Never perhaps in the history of Hindi film industry has a film that got rave accolades in India and abroad. The film became the talking point not only for that era, but continues to mystify even today.
Little wonder then, when the film held its second premiere in Mumbai's Eros theatre, the celebrity turn out was unmatched.
The red carpet saw the early arrivals of stalwarts Dilip Kumar (Shehzada Salim from the film) with wife Saira Banu, the quintessential beauty Rekha, followed by Boney Kapoor and wife Sridevi, Anil Kapoor with wife Sunita, Raza Murad, Tabu, Sanjay Kapoor with wife Maheep, Govinda, Akshay Khanna, Rani Mukherji, Taurani borthers from Tips, and many more.
Describing the film as a phenomenon the imitable Dilip Kumar called for a closing of the chapter that was the Mughal-e-Azam. Says he, "the film was a afsana (a phenomena) which was narrated on the big screen with K Asif's (the director of the film) vision. I can see that everybody is still mad about the film including me. But it was the junoon (madness) of Asif which saw the completion of this historic film. No one else could have made it the way he visualised it and made it. However, I would appeal to all to close this chapter now. The stars of that era are no longer alive and the film of this grandeur cannot be made."
A phenomena indeed - as was visible from the attempt to re-create that grandeur at the premiere. Amidst elephants decked in royal Mughal style, the prints of the all colour film came in a palki decked with flowers. Each guest was welcomed to the sound of trumpets and ushered in the theatre with assistance of courtesans dressed in Mughal clothes. The theatre was decorated in the Mughal Durbar style where the predominant colour was a splash golden as was used in the film. Amidst all the splendour, the film started to the sound of fireworks and crackers - a remarkable tribute to its erstwhile artists and makers on the eve of Diwali.
Though the Kapoors were conspicuous by their absence, Kareena Kapoor (from the Kapoor Khandan) in a press interview a day before had clearly indicated her preference to watching the film which she considers a masterpiece. "A film like Mughal-e-Azam cannot be made nor can any movie ever match up to this film. My great grandfather - Prithivirajji played the role of Shehanshah Akbar and I have yet to see any artist match his style and eulogy for the historical character like he did. The dialogues, songs, picturisation, all the artists, the music - everything of the film remains unmatched" says she.
Agrees Tabu, "I have seen the film twice, but then I was a little girl. I'm looking forward to seeing the film in all colour and stereo sound."
For Govinda though it was a time to pay tribute to the biggest blockbuster of Hindi film industry. "The film is a milestone and a yardstick for all. There can never be another Mughal-e-Azam as there can never be Dilip Kumar - Madhubala to create that magic moment" says he.
A film that has hardly any loopholes and is considers a yardstick - a point of study for many a cinema buffs - Mughal-e-Azam can safely be stated as a film that cuts across generations where young and old alike share the euphoria of association with revered zeal and excitement.
Meanwhile for many it was a time back in history. "This is the second time that I'm attending the premiere of Mughal-e-Azam. The first time was about forty four years ago when the film was released in Maratha Mandir on August 5, 1960. I accompanied me father Murad, who played the role of Raja Mansingh in the film. Then I was only nine years old" says Raza Murad - the formidable villain and character artist of Hindi films.
A film by Sterling Investment Corporation Ltd, Mughal-e-Azam releases nationwide - this time by Sanjay Gandhi and Boney Kapoor for Raksha Distributors in full colour and Dolby stereo sound - a humongous task which took over two years with digitally mastered technology from Hollywood to match the right colours and sound of the erstwhile epic saga.
What do you think? Should old black & white classics be colourized?
The following article is reproduced from "The Times of India":
Why colour Mughal-e-Azam?
MAHESH BHATT
[ SATURDAY, NOVEMBER 13, 2004 10:59:04 PM ]
Mahesh Bhatt, Director and producer: It's like painting the Red Fort in acrylic emulsion.
If this debate is about Mughal-e-Azam , there's one answer. If it's about the genre of black-and-white cinema there's another. Mughal-e-Azam is a once in a century film — in its grandeur, in its characters, in its very spirit.
The film took ten long years to make. And it's as relevant in colour in 2004 as it was in the 1960s, when it was first released in black-and-white.
Each frame of this classic celebrates the composite culture that is the hallmark of Independent India. The pluralism it is founded on — a Muslim king, his Hindu wife Jodhabai, and his commander-in-chief, Mansingh — a love story based on social inequality, a son rebelling against his father, are themes that are still close to the Indian heart. It's an ideal Diwali-Id release.
As for altering the classic, after all, the Sistine Chapel in Rome was repainted through computer technology to keep its colour alive. The film has been revived with colour and Dolby enhanced sound to ensure its marketability. The consequence: It is only second to Veer-Zara with two other new releases, Aitraaz and Naach, way down the ladder.
We live in an age of packaging. So, it is only prudent that the film is re-released with this new gloss to capture the imagination of today's audience. I doubt if a black-and-white re-release would have got a similar response.
But there's only one Mughal-e-Azam . And by that, I mean only one such classic in Indian film history which is worth its while. Black-and-white cinema was a genre in itself. And there's no denying that giving old classics a fresh coat of paint would be much like painting the Red Fort in ac
rylic emulsion.
An aging tree has its own autumnal splendour. Can you imagine repainting its azure leaves green to give it back its lost youth? It would look grotesque.
It's the same with any piece of art. In that sense, I would say that even Mughal-e-Azam has been scarred somewhat in this transformation. It would be the same if you add that bit of colour to a Pyaasa or a Madhumati or the old version of Devdas . After all, a rose is a rose is a rose.
Having said that, let me add that cinema is not art. It's commerce. In a market-driven industry, it becomes necessary to give the producer that much elbow room to sell his film. And with Mughal-e-Azam today's audience gets the advantage of watching Dilip Kumar, the great actor and symbol of pluralism — not a market or media created icon.
It's an experience — not a formula to be repeated again and again.
The following article is reproduced from "The Times of India":
Why colour Mughal-e-Azam?
MAHESH BHATT
[ SATURDAY, NOVEMBER 13, 2004 10:59:04 PM ]
Mahesh Bhatt, Director and producer: It's like painting the Red Fort in acrylic emulsion.
If this debate is about Mughal-e-Azam , there's one answer. If it's about the genre of black-and-white cinema there's another. Mughal-e-Azam is a once in a century film — in its grandeur, in its characters, in its very spirit.
The film took ten long years to make. And it's as relevant in colour in 2004 as it was in the 1960s, when it was first released in black-and-white.
Each frame of this classic celebrates the composite culture that is the hallmark of Independent India. The pluralism it is founded on — a Muslim king, his Hindu wife Jodhabai, and his commander-in-chief, Mansingh — a love story based on social inequality, a son rebelling against his father, are themes that are still close to the Indian heart. It's an ideal Diwali-Id release.
As for altering the classic, after all, the Sistine Chapel in Rome was repainted through computer technology to keep its colour alive. The film has been revived with colour and Dolby enhanced sound to ensure its marketability. The consequence: It is only second to Veer-Zara with two other new releases, Aitraaz and Naach, way down the ladder.
We live in an age of packaging. So, it is only prudent that the film is re-released with this new gloss to capture the imagination of today's audience. I doubt if a black-and-white re-release would have got a similar response.
But there's only one Mughal-e-Azam . And by that, I mean only one such classic in Indian film history which is worth its while. Black-and-white cinema was a genre in itself. And there's no denying that giving old classics a fresh coat of paint would be much like painting the Red Fort in ac
rylic emulsion.
An aging tree has its own autumnal splendour. Can you imagine repainting its azure leaves green to give it back its lost youth? It would look grotesque.
It's the same with any piece of art. In that sense, I would say that even Mughal-e-Azam has been scarred somewhat in this transformation. It would be the same if you add that bit of colour to a Pyaasa or a Madhumati or the old version of Devdas . After all, a rose is a rose is a rose.
Having said that, let me add that cinema is not art. It's commerce. In a market-driven industry, it becomes necessary to give the producer that much elbow room to sell his film. And with Mughal-e-Azam today's audience gets the advantage of watching Dilip Kumar, the great actor and symbol of pluralism — not a market or media created icon.
It's an experience — not a formula to be repeated again and again.
This magnum opus was & still is an awesome movie. Technically excellent, artistically brilliant & visually enthralling, this is a masterpiece of a movie. The characterisation & performance of the lead artists are difficult to beat. I remember watching one of those award functions wherein Rithik Roshan was called upon to present a lifetime achievement award to Dilip Kumar. During the presentation Rithik opined that, in his dictionary, the meaning of "acting" was Dilip Kumar. Such is the adulation that great artistes are held in.
Mughal-E-Azam was no less an epic than the Hollywood masterpieces of this time namely, "The Ten Commandments" & "Benhur". In this day & age of technological advancement if someone has spent valuable time & money in refurbishing & reviving such a great classic for the visual pleasure of both the old & new generations, it is a praise worthy effort. I wish they release a DVD version of this revived classic so we can regale Dilip Saab's phenomenal acting & Madhubala's serene beauty in colour & with a dolby digital soundtrack to boot.
Truly, a great movie & a momentuous event in the annals of Hindi film industry.
Mughal-E-Azam was no less an epic than the Hollywood masterpieces of this time namely, "The Ten Commandments" & "Benhur". In this day & age of technological advancement if someone has spent valuable time & money in refurbishing & reviving such a great classic for the visual pleasure of both the old & new generations, it is a praise worthy effort. I wish they release a DVD version of this revived classic so we can regale Dilip Saab's phenomenal acting & Madhubala's serene beauty in colour & with a dolby digital soundtrack to boot.
Truly, a great movie & a momentuous event in the annals of Hindi film industry.
K Asif was sent on this earth for mission Mughal-E-Azam only.
He will be remembered always for one film. He could not complete
another classic, Love and God, casted originally with GuruDutt in lead role of Kais.
What is missing in all discussions going on, Madhubala's memories. Known as Venus of Film Screen, the legendary actress became more popular, after she challenged Badshah Akbar by
singing 'Pyar kiya to Darna Kya' in the film.
He will be remembered always for one film. He could not complete
another classic, Love and God, casted originally with GuruDutt in lead role of Kais.
What is missing in all discussions going on, Madhubala's memories. Known as Venus of Film Screen, the legendary actress became more popular, after she challenged Badshah Akbar by
singing 'Pyar kiya to Darna Kya' in the film.
Pics from the premiere:
Legendary Bollywood stars Dilip Kumar ® and Saira Banu arrive for the premier of a retouched version of an old classic "Mughal-e-Azam" or 'Emperor of the Moghuls', in Bombay on November 10, 2004. Mughal-e-Azam or Emperor of the Moghuls, one of Bollywood's greatest classics, returned to the big screen on Wednesday after 44 years but this time in colour. The black and white epic has been converted by the Indian Academy of Arts and Animation through a process which involved filling colour into each frame manually.
Thespian Dilip Kumar searches for his Anarkali at the premiere
Bollywood star Rekha arrives.
Bollywood star Aishwarya Rai arrives. She looks like Late Nafisa.
Legendary Bollywood stars Dilip Kumar ® and Saira Banu arrive for the premier of a retouched version of an old classic "Mughal-e-Azam" or 'Emperor of the Moghuls', in Bombay on November 10, 2004. Mughal-e-Azam or Emperor of the Moghuls, one of Bollywood's greatest classics, returned to the big screen on Wednesday after 44 years but this time in colour. The black and white epic has been converted by the Indian Academy of Arts and Animation through a process which involved filling colour into each frame manually.
Thespian Dilip Kumar searches for his Anarkali at the premiere
Bollywood star Rekha arrives.
Bollywood star Aishwarya Rai arrives. She looks like Late Nafisa.
I know many people who don't see old films just because of absence of colours, so I think it would be a great chance for the HFM to show their classics to younger generation.
QUOTE(myawan @ Nov 16 2004, 07:13 AM)
I know many people who don't see old films just because of absence of colours, so I think it would be a great chance for the HFM to show their classics to younger generation.
I agree with Myawan. I already know some ppl like this. I just cant get them to sit with me to watch a b/w movie. They will watch any movie thats color. *sheesh*
WOW - Dilip still looks great! Is the DVD out yet???
QUOTE(myawan @ Nov 16 2004, 02:13 PM)
I know many people who don't see old films just because of absence of colours, so I think it would be a great chance for the HFM to show their classics to younger generation.
I love black and white shades. Infact many of the new movies, I minimize the color or sometimes remove it totally.
Not bad at all The black & white has its own charm and its like old is gold but color doesnt look so bad as I had thought.
The black & white has its own charm and its like old is gold but color doesnt look so bad as I had thought.
I always prefer old movies in B/W .. I have seen the trailor of this M-e-a on the tv and I am not keen in seeing it in color
N
N
Do they have plans to release the revival version in the US? I'd love to see it on a large screen. My folks saw it back in Ahmedabad, my teenage nephew loved the movie (God bless him!) but thought the color was a bit much. I knew Madhubala would look smashing in "Mohe Panghat Pe", thank you Unni ji for the pictures.
Black and White versions do have an aura about them, but such regal/ extravagant movies would have a different appeal in color.
Black and White versions do have an aura about them, but such regal/ extravagant movies would have a different appeal in color.
Talkz it is indeed being shown on the silver screen and I am sure it will be shown in your part of the world.
dvds abhi tak release nahi huve.. EROS shayad kuchh karta hoga wahan pe.?!?!?!
N :|
dvds abhi tak release nahi huve.. EROS shayad kuchh karta hoga wahan pe.?!?!?!
N :|
While many have reviewed ´Mughal-E-Azam´ , no one has bothered to point out an important aspect in the new colorised version . One just wonders if some of the reviews were written even without seeing the colorised version !
Here is our note of caution for the more discerning audience . Some important scenes and the hit song ´Mohabbat ki jhooti kahani pe roye´ have been edited out from the coloured prints .
Why , some may demand their money back and exhibitors would be well advised to bring the fact of re-editing to the viewers´ notice before the show and since it is an old film and distributors should actually think in terms of reducing the admission rates , once the initial euphoria dies down
Kya khayal hai
Here is our note of caution for the more discerning audience . Some important scenes and the hit song ´Mohabbat ki jhooti kahani pe roye´ have been edited out from the coloured prints .
Why , some may demand their money back and exhibitors would be well advised to bring the fact of re-editing to the viewers´ notice before the show and since it is an old film and distributors should actually think in terms of reducing the admission rates , once the initial euphoria dies down
Kya khayal hai
Shuxx... I wanted to watch this movie for that song picturization. I love that number. I have the old vrsion on the dvd and have watched that particular song so many times.
Sad they have edited it out. Is it just that, or any other scenes also edited out? ... do they have that scene where he says....
Salim tujeh marne nahin dega, aur ham Anarkali, Tumhein Jeene nahin denge. Loved Prithviraj's dialogue delivery with that harsh tone in his voice.
Sad they have edited it out. Is it just that, or any other scenes also edited out? ... do they have that scene where he says....
Salim tujeh marne nahin dega, aur ham Anarkali, Tumhein Jeene nahin denge. Loved Prithviraj's dialogue delivery with that harsh tone in his voice.
QUOTE(Pradeep @ Nov 21 2004, 04:13 AM)
Salim tujeh marne nahin dega, aur ham Anarkali, Tumhein Jeene nahin denge. Loved Prithviraj's dialogue delivery with that harsh tone in his voice.
Had forgotten these lines as Akbar's in M-e-A. Since then it had been surpassed by the Ajit joke:
"Hero ko liquid-oxygen mein duba do".
"Magar kyoon, bass"?
"Bewaqoof, liquid use jeene nahin dega, aur oxygen use marne nahin dega"!
hahha 
QUOTE(unni @ Nov 21 2004, 05:30 AM)
QUOTE(Pradeep @ Nov 21 2004, 04:13 AM)
Salim tujeh marne nahin dega, aur ham Anarkali, Tumhein Jeene nahin denge. Loved Prithviraj's dialogue delivery with that harsh tone in his voice.
Had forgotten these lines as Akbar's in M-e-A. Since then it had been surpassed by the Ajit joke:
"Hero ko liquid-oxygen mein duba do".
"Magar kyoon, bass"?
"Bewaqoof, liquid use jeene nahin dega, aur oxygen use marne nahin dega"!
ROFLLLLLLLLLL that was too good!! May be they should seriously put something like that in there.
I dont remember the scene from MeA but I do remember the scene from "Hum Aapke Hai Kaun" where Reema Lagu says the dialog of Anarkali in that game they play. I love that dialog.. I cant recall exact words "... aaftaab ki roshni to chiragon ko bhi jalaati hai, phir aap ne kyon taqleef kee?... aap mujhse mere khwaab na chheeniye..." something like that. It would be great to see that one in color!
SCREEN online has featured an interview with Dilip Kumar about Mughal-E-Azam at:
http://www.screenindia.com/fullstory.php?content_id=9441
Another feature on the actor is at:
http://www.screenindia.com/fullstory.php?content_id=9449
http://www.screenindia.com/fullstory.php?content_id=9441
Another feature on the actor is at:
http://www.screenindia.com/fullstory.php?content_id=9449
They are planning on Naya Daur and one moe movie.. in color.
According to musicindiaonline.com, there are all the tracks and they all have been re-recorded and digitally remastered to great effects:
Click to view attachment
http://www.musicindiaonline.com/ar/i/movie_name/7589/0/
Audio Review : Haunting 'Mughal-e-Azam' music returns
Music: Naushad
Lyrics: Shakeel Badayuni
Words fail as we listen to this revived version of a timeless soundtrack created 44 years ago.
It is said that Naushad was the only composer whose name appeared above the film's title on hoardings. Listening to the grand opulence of the sound he creates in "Mughal-e-Azam", one would agree that Naushad's awesome reputation is entirely deserved.
Shakeel Badayuni's lyrical pearls cascade in a flow that makes one gasp in appreciation.
The entire soundtrack has now been re-recorded by Uttam Singh, Gurmeet Singh and Naushad's son Raju. Having heard the original, one is overwhelmed by the startling sound quality achieved in this digital stereophonic avatar.
Wisely, the new version places all eight solos by Lata Mangeshkar and her qawwali with Shamshad Begum, "Teri mehfil mein kismet azma kar", together.
Lata is the soul of "Mughal-e-Azam's" music.
What would Madhubala be without Lata's voice singing the effervescent "Pyar kiya to darna kya", "Mohe panghat pe", "Ae ishq sab duniyawale" and the heart wrenching dirges, "Mohabbat ki jhooti kahani pe roye", "Humen kaash tumse mohabbat na hoti", "Bekas pe karam kijiye" and "Khuda nigahenban"?
Each track has been re-recorded with meticulous care to preserve the pristine and sublime quality of Lata's voice.
Mention must be made of legendary vocalist Bade Ghulam Ali Khan, who broke his classical diktat by singing "Prem jogan ban" and "Shubh din aayo".
The way incidental sounds coalesce into the larger epic design of the compositions in a format that exudes the scent of nostalgia is indeed a marvel of technical and artistic creation.
The use of chorus in "Pyar kiya to darna" and "Teri mehfil mein kismet" is so broadened that it actually enhances the beauty of the original composition.
Then there's Mohammad Rafi, who sings his only solo with "Ae mohabbat zindabad", lauding the spirit of immortal love that this album celebrates.
But the soundtrack clearly belongs to Indian nightingale Lata.
From the frolicsome "Mohe panghat" to the heartbreaking "Bekas pe karam kijiye", she imparts to the sound a beauty that transcends all description.
This re-mastered soundtrack is a marvel of technical and artistic creation. It transforms an exhilarating soundtrack into a magical and momentous experience.
Go for the past. Now.
© Copyright 2004 by MusicIndiaOnLine.com
Click to view attachment
http://www.musicindiaonline.com/ar/i/movie_name/7589/0/
Audio Review : Haunting 'Mughal-e-Azam' music returns
Music: Naushad
Lyrics: Shakeel Badayuni
Words fail as we listen to this revived version of a timeless soundtrack created 44 years ago.
It is said that Naushad was the only composer whose name appeared above the film's title on hoardings. Listening to the grand opulence of the sound he creates in "Mughal-e-Azam", one would agree that Naushad's awesome reputation is entirely deserved.
Shakeel Badayuni's lyrical pearls cascade in a flow that makes one gasp in appreciation.
The entire soundtrack has now been re-recorded by Uttam Singh, Gurmeet Singh and Naushad's son Raju. Having heard the original, one is overwhelmed by the startling sound quality achieved in this digital stereophonic avatar.
Wisely, the new version places all eight solos by Lata Mangeshkar and her qawwali with Shamshad Begum, "Teri mehfil mein kismet azma kar", together.
Lata is the soul of "Mughal-e-Azam's" music.
What would Madhubala be without Lata's voice singing the effervescent "Pyar kiya to darna kya", "Mohe panghat pe", "Ae ishq sab duniyawale" and the heart wrenching dirges, "Mohabbat ki jhooti kahani pe roye", "Humen kaash tumse mohabbat na hoti", "Bekas pe karam kijiye" and "Khuda nigahenban"?
Each track has been re-recorded with meticulous care to preserve the pristine and sublime quality of Lata's voice.
Mention must be made of legendary vocalist Bade Ghulam Ali Khan, who broke his classical diktat by singing "Prem jogan ban" and "Shubh din aayo".
The way incidental sounds coalesce into the larger epic design of the compositions in a format that exudes the scent of nostalgia is indeed a marvel of technical and artistic creation.
The use of chorus in "Pyar kiya to darna" and "Teri mehfil mein kismet" is so broadened that it actually enhances the beauty of the original composition.
Then there's Mohammad Rafi, who sings his only solo with "Ae mohabbat zindabad", lauding the spirit of immortal love that this album celebrates.
But the soundtrack clearly belongs to Indian nightingale Lata.
From the frolicsome "Mohe panghat" to the heartbreaking "Bekas pe karam kijiye", she imparts to the sound a beauty that transcends all description.
This re-mastered soundtrack is a marvel of technical and artistic creation. It transforms an exhilarating soundtrack into a magical and momentous experience.
Go for the past. Now.
© Copyright 2004 by MusicIndiaOnLine.com
Yesterday once more
The re-release of Mughal-e-Azam has refreshed the memories of a smalltime yesteryear actor who had a cameo role in the film. He is perhaps the only other existing actor from the cast of Mughal-e-Azam apart from Dilip Kumar. Mohammed Akram Ali Khan who now works as a taxi-driver in his late 60's recollects the moment when his first heavy-worded screen dialogue in Mughal-E-Azam was okayed by director K Asif in the first take. The re-release of the film takes him down the memory lane. And thanks to Mughal-e-Azam, Khan subsequently bagged good character roles in other big films as well. He underwent a six-month acting course at S Mukerjee's institute (where his fellow students also included the likes of Asha Parekh and Sadhana).
-- Hindustan Times.
The re-release of Mughal-e-Azam has refreshed the memories of a smalltime yesteryear actor who had a cameo role in the film. He is perhaps the only other existing actor from the cast of Mughal-e-Azam apart from Dilip Kumar. Mohammed Akram Ali Khan who now works as a taxi-driver in his late 60's recollects the moment when his first heavy-worded screen dialogue in Mughal-E-Azam was okayed by director K Asif in the first take. The re-release of the film takes him down the memory lane. And thanks to Mughal-e-Azam, Khan subsequently bagged good character roles in other big films as well. He underwent a six-month acting course at S Mukerjee's institute (where his fellow students also included the likes of Asha Parekh and Sadhana).
-- Hindustan Times.
Pradeepah!! It is running in Naga re
I didnt see any House Full board out there
I wonder what is gonna happen today.. Rajkumar and the other %#^%*^#%*#^A are going on a procession against the release of Veer Zara :E
N :E
I didnt see any House Full board out there
I wonder what is gonna happen today.. Rajkumar and the other %#^%*^#%*#^A are going on a procession against the release of Veer Zara :E
N :E
Hi friends!
As Mughl-e-Azam is being released in Pakistan very soon, I just want to write an article about the film for a magazine and need some good quality screenshots. Does anybody post some pictures from colour version in good resolution? It is hard to find on net.
Wating!!!
As Mughl-e-Azam is being released in Pakistan very soon, I just want to write an article about the film for a magazine and need some good quality screenshots. Does anybody post some pictures from colour version in good resolution? It is hard to find on net.
Wating!!!
QUOTE(Inaam_Nadeem @ Mar 15 2006, 12:14 PM)
Hi friends!
As Mughl-e-Azam is being released in Pakistan very soon, I just want to write an article about the film for a magazine and need some good quality screenshots. Does anybody post some pictures from colour version in good resolution? It is hard to find on net.
Wating!!!
i am sure everybody would enjoy it in pakistan too.
i think you would find following links useful.
http://movies.indiainfo.com/gallery/view_a...0-Mughal-E-Azam
http://movies.monstersandcritics.com/archi...zam/2969/images
Woww!!!! Mere article ko tou char chaand lag jaeinge Many thanks for the help august and Unni Ji 
Many thanks for the help august and Unni Ji QUOTE(Nimii @ Nov 25 2004, 02:11 PM)
Pradeepah!! It is running in Naga re
I didnt see any House Full board out there
I wonder what is gonna happen today.. Rajkumar and the other %#^%*^#%*#^A are going on a procession against the release of Veer Zara :E
N :E
I didnt see any House Full board out there
I wonder what is gonna happen today.. Rajkumar and the other %#^%*^#%*#^A are going on a procession against the release of Veer Zara :E
N :E
Just saw this. Why were ppl protesting against Veer Zara?
QUOTE(priya @ Mar 15 2006, 05:44 AM)
Just saw this. Why were ppl protesting against Veer Zara?
November ka samachaar aur March mein sawaal pooch rahi hai! Lagta hai, aap ke ganv tak khabar pahoonchney mein kaaaaaaaaaaaafi daer lagthi hai!
Aap tak to khabar pahunch gayi na, wise guy? To aap uchhal koodh chodiye aur jawab dijiye. 
QUOTE(priya @ Mar 15 2006, 07:05 AM)
Aap tak to khabar pahunch gayi na, wise guy? To aap uchhal koodh chodiye aur jawab dijiye.
Ayyo! The Bangaluru filmu industryu wasu protestingingu againstu showingu ofu non-Kannada filmus whicu resultedu inu loss ofu revenue (!) foru themu.
QUOTE(Inaam_Nadeem @ Mar 14 2006, 10:44 PM)
Hi friends!
As Mughl-e-Azam is being released in Pakistan very soon, I just want to write an article about the film for a magazine and need some good quality screenshots. Does anybody post some pictures from colour version in good resolution? It is hard to find on net.
Wating!!!
As Mughl-e-Azam is being released in Pakistan very soon, I just want to write an article about the film for a magazine and need some good quality screenshots. Does anybody post some pictures from colour version in good resolution? It is hard to find on net.
Wating!!!
Inaam I scanned the lobby card a while ago, you can see it here:
http://www.hamaraforums.com/index.php?s=&s...ndpost&p=111306
(if there is a hosting problem, let me know, I can repost). And I also remember downloading images directly from the official site: http://www.mughaleazam.com/
Vaise I didn't check the other sites posted, so maybe some have the same images. Good luck.
QUOTE(unni @ Mar 15 2006, 05:49 PM)
QUOTE(priya @ Mar 15 2006, 07:05 AM)
Aap tak to khabar pahunch gayi na, wise guy? To aap uchhal koodh chodiye aur jawab dijiye.
Ayyo! The Bangaluru filmu industryu wasu protestingingu againstu showingu ofu non-Kannada filmus whicu resultedu inu loss ofu revenue (!) foru themu.
Ajeeb zabardasti hai!!!
QUOTE(deewani @ Mar 15 2006, 06:49 PM)
QUOTE(Inaam_Nadeem @ Mar 14 2006, 10:44 PM)
Hi friends!
As Mughl-e-Azam is being released in Pakistan very soon, I just want to write an article about the film for a magazine and need some good quality screenshots. Does anybody post some pictures from colour version in good resolution? It is hard to find on net.
Wating!!!
As Mughl-e-Azam is being released in Pakistan very soon, I just want to write an article about the film for a magazine and need some good quality screenshots. Does anybody post some pictures from colour version in good resolution? It is hard to find on net.
Wating!!!
Inaam I scanned the lobby card a while ago, you can see it here:
http://www.hamaraforums.com/index.php?s=&s...ndpost&p=111306
(if there is a hosting problem, let me know, I can repost). And I also remember downloading images directly from the official site: http://www.mughaleazam.com/
Vaise I didn't check the other sites posted, so maybe some have the same images. Good luck.
Thanks D
I have already copy that lobby card. The links posted by Unni & august are very usefull for me.This is a "lo-fi" version of our main content. To view the full version with more information, formatting and images, please click here.