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Time of India
4 hours ago
- Entertainment
- Time of India
Mughal-e-Azam: An eternal metaphor for love and defiance
Syed Hassan Kazim works with The Times of India. He holds a degree in English Journalism from IIMC, Delhi, and a master's in Peace Building and Conflict Analysis from Jamia Millia Islamia University, New Delhi. His interests lie in international and national politics, as well as human interest and societal issues. LESS ... MORE Mughal-e-Azam is not merely cinematic history; it serves as a bold reminder to always speak truth to power, regardless of the age or era. More than six decades since its release, the Dilip Kumar, Madhubala, and Prithviraj Kapoor-starring Bollywood magnum opus Mughal-e-Azam remains an unmatchable piece of Indian cinema—not only for its performances but also for the clarity of thought it presents and the lesson towards moral courage. At the heart of this 1960 epic lies a rebellious love story and a heroine whose revolutionary defiance becomes more relevant over time. To speak of Mughal-e-Azam is to talk of Dilip Kumar, the thespian at the height of his cinematic life. His performance as Salim was groundbreaking and a landmark. His conscience-rattling dialogues have echoed across generations. 'Jahaanpanah, agar Anarkali ko deewaron mein chunwaya gaya, to Hindustan ek azeem maqbara ban jaayega' is not just a cinematic punch; it is a moral indictment. But perhaps the soul of the film is the most iconic song: Pyaar Kiya To Darna Kya. It's a call for rebellion as well. The scene is drenched in grandeur, but what lingers is the voice of rebellion. Madhubala's Anarkali, stepping out in defiance, sings not just of love—but of protest. 'Maut wahi jo duniya dekhe, ghut ghut ke yun marna kya' is a call against human suffering. A call to make oppression visible. It asks the people to reject and confront tyranny with one's head held high; that means a defiant 'No' to humiliation. The climax of the song, 'Parda nahin jab koi Khuda se, bandon se parda karna kya', is an eternal truth. When the Creator, no matter in which language or through which faith He is called, knows our convictions, then why fear the public? Why fear the world around? When it's justice we care for, then why be shy? It's not just Anarkali's challenge to Emperor Akbar; it's a challenge to every hierarchical structure that silences the weak and oppresses the dispossessed. In today's world, where the powerful often seek to control the narrative and those having a voice are vilified, Mughal-e-Azam reminds us of the cost—and necessity—of courage. It reminds us that to love, to dissent, and to resist injustice is to be deeply human as the Argentinian-born Cuban revolutionary Ernesto Che Guevara said, 'At the risk of seeming ridiculous, let me say that the true revolutionary is guided by a great feeling of love. It is impossible to think of a genuine revolutionary lacking this quality.' And so, when Dilip Kumar says, 'Qaid khane ki woh andheri raat sirf Anarkali par hi nahi, Akbar-e-Azam ke tamaam mansoobon par bhaari guzregi,' he talks about how plans built on arrogance and control, no matter how grand, will ultimately falter before the moral force of truth. Mughal-e-Azam is a political and emotional blueprint that shows a mirror to society. It's a lesson for the lovers who resist, who know the worth of their dignity, and are firm in their conviction to rise—no matter the cost. In a world that still forces too many to live on their knees, this film stands tall—a monument to those who choose to die on their feet. Facebook Twitter Linkedin Email Disclaimer Views expressed above are the author's own.
India.com
3 days ago
- Entertainment
- India.com
Meet actress, who married her own brother-in-law, Dilip Kumar loved her more than his wife Saira Banu, her name was...
In the early days of Hindi cinema, a well-known actress lived a life full of emotional twists. She started her career with a film that won international praise and soon became one of the most respected actresses of her time. But her personal life was not easy. Let's find out who this actress was.. The Vintage Queen Of Indian Cinema Here we are talking about actress Kamini Kaushal, known for her iconic screen presence. She began her film career in 1946 with Neecha Nagar. The film marked her arrival in the world of Indian cinema, as film became the first Indian film to win a Grand Prix Award at the prestigious Cannes Film Festival. After this, she quickly rose to fame with memorable roles in films like Do Bhai, Upkar, Ziddi, Roti Kapda Aur Makaan, and Purab Aur Paschim that made her one of the most respected actresses of that time. However, fate had some other plans for her, due to which her personal life was marked by emotional turmoil and huge sacrifice. The Unfortunate Tragedy In Kamini's Life In a heartbreaking event, Kamini's elder sister died in a car accident in 1948, which later became family pressure and the responsibility of raising her sister's two daughters, As a result, Kamini married her brother-in-law, B.S. Sood, who was the Chief Engineer at Bombay Port Trust. It was a marriage born out of duty, not desire, that Kamini accepted it for the sake of her family. Kamini's Love Of Life After marriage, Kamini continued her acting career, which resulted in something unique but painful in her life. During the shooting of Shaheed in 1948, Kamini fell in love with her co-star, Dilip Kumar. Despite being married, her bond with Dilip grew stronger, and two even considered getting married. Their on-screen chemistry transcended into deep emotional connection off-screen. It has also been said that Dilip Saab was more fond of Kamini than her wife Saira Banu, whom he married in 1966. The Painful End of Kamini-Dilip Kumar's Relationship Kamini's brother came to know about her affair with Dilip Kumar and strongly disapproved of their relationship. He even warned Dilip to end the relationship, threatening serious consequences if he didn't. Fearing conflict and unwilling to go against her family, Kamini chose to walk away from the relationship. However, it was a painful decision, but one she felt was necessary to maintain peace and uphold her responsibilities as a wife and a mother.
India.com
3 days ago
- Politics
- India.com
This is the only Indian state that provides advanced facilities to railway passengers, not Delhi, UP, Maharashtra, MP, Karnataka, name is....
Indian Railways: When we think of getting the facilities of the three high-tech trains of Indian Railways, the names of states that come to mind are Delhi, Maharashtra, and Karnataka. But the fact is that Bihar is the only state in the entire country where the facilities of the Vande Bharat Express, Amrit Bharat Train, and Namo Bharat Rapid Rail are being provided. Dilip Kumar, Executive Director of Information and Publicity in the Railway Board, said that the Vande Bharat Express, Amrit Bharat Train, and Namo Bharat Rapid Rail are the Triveni of the modern railway system. Bihar is the only state that has services of all three categories of trains. 2 Amrit Bharat Trains In Bihar Kumar said that apart from Vande Bharat Express, two Amrit Bharat trains are being operated in the state for the convenience of the passengers. The first Amrit Bharat Express runs from Darbhanga to Anand Vihar and the second one provides service from Saharsa to Mumbai. Namo Bharat Rapid Rail India's second Vande Bharat Express train is now running between Jaynagar and Patna, a senior railway official announced. Simultaneously, Bihar is undergoing extensive railway station upgrades under the Amrit Bharat Station Scheme, focusing on 98 stations. Two stations, Pirpainti and Thawe, have already completed renovations. PM Modi Inaugurated 103 Amrit Bharat Stations Indian Prime Minister Narendra Modi recently opened 103 railway stations nationwide as part of the Amrit Bharat Station development initiative. Ongoing renovations under this scheme encompass several key stations, including Patna, Gaya, Darbhanga, and Muzaffarpur. 'The stations where work is currently going on under the Amrit Bharat Station Scheme include stations like Patna, Gaya, Darbhanga and Muzaffarpur,' Kumar said.
Indian Express
3 days ago
- Entertainment
- Indian Express
‘Madhubala was dying, I don't blame Dilip Kumar for leaving her': Legendary star warned Mumtaz never to fall in love, called it the worst
The veteran actor Mumtaz recalled the tragic piece of advice that she received from the legendary star Madhubala. In an interview, she said that Madhubala was on her deathbed when she advised her never to lose herself to love. Madhubala passed away at a young age, and was never able to fulfil her fairytale romance with Dilip Kumar. Knowing that she was dying of an illness, Dilip Kumar made the decision to leave her. Mumtaz said that she doesn't blame him at all for it. She grew up in close proximity of Madhubala, having been taken in by her father. In an interview with Filmibeat, she said, 'The poor woman wasn't well, and I don't blame Yusuf saab. She was dying, there was nothing that he could've done. She was very, very ill, and there were no real cures for the heart condition that she had.' Asked if Madhubala ever gave her advice that she still remembers to this day, Mumtaz said, 'I was very young, but I remember her telling me, 'Zindagi mein sabse buri cheez jo hoti hai, mohabbat hoti hai. Kissi se pyaar mat karna. Karo, magar itna naa karo ke bechain ho jao (Love is the worst thing in the world. Never fall in love. If you do, don't lose sleep over it).' Also read – Dilip Kumar slapped Madhubala on the set of Mughal-e-Azam with 'full force' after break-up, director said it 'proves he still loves you' In an earlier interview with Vickey Lalwani, Mumtaz said that Dilip Kumar left Madhubala because she was too unwell to bear children. 'She didn't break up with him. He broke up with her because she couldn't have children. Instead, he married Saira Banu, who is a very nice person. She took such great care of him till his dying breath. She was his fan originally. They had a huge age difference, but these things don't matter when you're in love,' she said. He eventually married Saira Banu, and some time after their marriage, he received a call from Madhubala, asking him to meet her. In his autobiography, Dilip Kumar praised Saira for allowing him to meet Madhubala. 'When I went to Madhu's home, I was pained to see that she was frail and looked very weak. The pallor on her face not only belied her ill health, but her magnificent, impish smile seemed such an effort. She was happy to see me and said: 'Hamarey shehzade ko unki shehzadi mil gayi hai, main bahut khush hoon!' (Our prince has got his princess, I am very happy),' he wrote.
Indian Express
4 days ago
- Entertainment
- Indian Express
The producer of an Amitabh Bachchan film was kidnapped in broad daylight by Pathan mafia; Dilip Kumar got the investigation started
Director Ramesh Sippy's grand follow-up to Sholay, the film Shaan, united the hit Deewaar pair of Amitabh Bachchan and Shashi Kapoor. The film was written by Sholay's Salim Khan and Javed Akhtar, but it failed to live up to expectations. Sippy took a third bite of the apple some years later, with the film Shakti. Not only was it written by Salim-Javed, it brought together Amitabh and Dilip Kumar. Shakti was a high-profile project, but it was marred by a curious incident that not many might remember. One of the film's producers, Mushir Alam, was kidnapped in broad daylight by the Pathan mafia. The police were able to identify and apprehend the kidnappers thanks to crucial details that Mushir had memorised, such as seeing a poster of Sholay through a blindfold. Details of the kidnapping were shared by noted crime journalist S Hussain Zaidi on his YouTube channel, and in the memoirs of Isaque Bagwan, a Mumbai police officer who worked in the crime branch at the time, and participated in the investigation. Zaidi said that Mushir was on his way to work when a white Ambassador car pulled up next to him, and three men stepped out with weapons. They grabbed Mushir and shoved him into the Ambassador. A blindfold was put on his eyes. Mushir had the presence of mind to take note of details, like seeing a poster of Sholay (which was still running in theatres seven years after its release), and noting that the stairs that he was instructed to climb were wooden. He also noted hearing the voice of children reading the Quran in chorus. These details would help the police identify and track down the kidnappers later. Also read – When Ramesh Sippy pulled off the biggest casting coup in Hindi cinema, brought together Dilip Kumar-Amitabh Bachchan Mushir's blindfold was taken off, and he was told that he'd need to pay Rs 20 lakh as ransom. He called up an aide, who arranged for nearly Rs 3 lakh. The money was exchanged, and Mushir was let go at an intersection. The story, Zaidi said, was sensational. How could someone with such major connections be kidnapped in broad daylight? While Mushir had resolved to move on with his life, Dilip Kumar insisted that the matter be investigated. In his book, Isaque Bagwan wrote, 'On 24 September 1982, a constable informed us about the arrival of thespian Dilip Kumar at the commissioner's office. We thought that such a famous actor must have come to see the commissioner for the renewal of his gun licence or some other security matter. But that was not the case.' He added, 'When we reached the commissioner's office, we saw Dilip Kumar sitting with two other people. Commissioner Ribeiro said, 'This is Mr Mushir and Mr Riaz.'' Read more – Sikandar: Anurag Kashyap's right; Bollywood is doomed if stars like Salman Khan enable the Snapchat-ification of cinema Mushir narrated his ordeal in detail to the police. Bagwan asked Mushir some critical questions, about the time it took for them to drive to their destination from Haji Ali, about the number of stairs he was asked to climb, about the smells and sights he remembered. Luckily, Mushir did. Bagwan deduced that the building Mushir was taken to must be in the Nagpada area. Upon reaching the location, he discovered the room that Mushir had described, and asked the crowd that had gathered there who the room belongs to. 'Sir, this is the inquiry room of the Amirzada–Alamzeb gang,' they told him. Having identified the kidnappers, the police got to business and tracked them down. They discovered that the plot was hatched with an insider who worked with Mushir, and that the gang's efforts to murder Dawood Ibrahim had depleted their resources. 'Once the whole picture was taken into consideration, we realized that all attempts to kill Dawood had taken a heavy toll on the financial resources of the gang. They desperately needed funds, which is why they had forced Ahmed Sayyad Khan to identify rich targets in the film industry, who in turn led them to Mushir,' Bagwan concluded.
