Latest news with #Mughal-e-Azam
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.
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.
India.com
5 days ago
- Entertainment
- India.com
Sholay cast fees: Dharmendra earned Rs 1,50,000, while Amitabh Bachchan got only Rs..., check fees of other actors in Ramesh Sippy's film
Indian cinema has created a plethora of movies. While some became hits, others fairly performed, and then there are some which flopped on the big screen. However, movies like Mughal-e-Azam, Dilwale Dulhania Le Jayenge, Lagaan have been given the title of being some of the most iconic movies ever made in Indian cinema's history. One among them is the extremely famous Ramesh Sippy's Sholay. Jai and Veeru's friendship became an inspiration for people. Interestingly, Sholay was not an instantaneous hit, but then with the help of word of mouth, the movie became a huge hit and a timeless cult classic. Released in 1975, and directed by Ramesh Sippy, Sholay is not just a movie but an emotion to movie lovers in India. While today, people who know about the Bollywood industry from its surface would never be able to guess the remuneration that actors took while Sholay was being produced. Today, many may think that it was Amitabh Bachchan who took home the highest money as fees. However, let us tell you that it is not correct! Yes, you read that right! Do you know that Dharmendra was considered the biggest star of the era? Even bigger than Amitabh. One will be amazed to know that Amitabh stood at the third position when it came to taking the highest fees for Sholay. Sholay Cast Fees Sholay was made for Rs 3 crore, and it was Dharmendra who took the highest fees for Sholay. Dharmendra took Rs 1,50,000 for his role while Sanjeev Kumar got Rs 1,25,000. Even though Amitabh was the second lead, the actor was paid less than Sanjeev Kumar. Big B took Rs 1,00,000 for his role of Jai. The female lead in Sholay, Hema Malini, was paid Rs 75,000 whereas Jaya Bachchan took home Rs 35,000 for her role in Sholay. Amjad Khan, who portrayed the role of Gabbar Singh and whose dialogue 'Kitne Aadmi The, Sambha?' from Sholay made fans go in frenzy, was only given Rs 50,000. Media reports claim that Mac Mohan, who was the Sambha in Sholay, got Rs 12,000 whereas Viju Khote, who played Kaalia, got Rs 10,000. A.K. Hangal, who played Imam Saab, received only Rs 8,000 for his role. This Actor in Sholay Got a Refrigerator Instead of Money This may sound absurd, but then let us tell you that an actor in Sholay was not paid money but a refrigerator. This actor was none other than Sachin Pilgaonkar.
Time of India
6 days ago
- Politics
- Time of India
Tej Pratap row: Anushka's bro vows to fight for sister's prestige
Patna: Amid the controversy involving RJD chief Lalu Prasad's elder son Tej Pratap Yadav and his alleged partner Anushka Yadav, her brother Akash Yadav broke his silence on Tuesday, vowing to defend his sister's honour. Tired of too many ads? go ad free now Speaking to the reporters for the first time, Akash said, "I will fight for the prestige of my younger sister." He also criticised Lalu's decision to expel Tej Pratap from the party and disown him from the family, describing it as unjustified. "This decision must be rolled back to prevent further strain between the two Yadav families," he said. Tej Pratap's viral social media post featuring intimate photos with Anushka, later deleted, triggered a political firestorm, prompting Lalu to expel him from the party for six years in what appeared to be a damage-control move ahead of elections. While Akash, now with the Rashtriya Lok Janshakti Party (RLJP), neither confirmed nor denied a marriage between Tej and Anushka, he said, "They are both adults. It is their personal matter." He added that the images were being used to malign his sister's character. "I don't believe the photos are genuine," he said. Akash warned that if the matter is not resolved, it could escalate. "This reminds me of 'Suryavansham'. Laluji's decision was hasty. This is a democracy, not the era of Mughal-e-Azam," he said. Akash also denied allegations that he made crores by exploiting his proximity to Tej. "The one who truly damaged Lalu's family is now his PA. I was mentally tortured from 2018 to 2020. I will continue this fight for my family and sister. We respect Laluji, but he must find a solution." Anushka appeared in the photos with sindoor in her hair and performing a Karva Chauth ritual, both symbolic of marriage. Lalu's nephew Nagendra Rai alleged Tej was "honey-trapped" and blamed Anushka's family for circulating the content. In contrast, Lalu's estranged brother-in-law, Sadhu Yadav, backed the RJD chief's tough stance on Tej Pratap.
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Business Standard
7 days ago
- Entertainment
- Business Standard
Rajasthan govt to soon bring out a policy to boost film production
Rajasthan is planning to come out with a policy soon in a bid to boost film and television production in the state. Diya Kumari, the state's deputy chief minister who also holds the tourism portfolio, has directed officials to finalise the policy, alongside working on plans to boost adventure tourism in the state. This will be the second attempt at such a policy — according to a tourism department official, the first dedicated policy for film tourism had been issued in 2022 to attract film shootings and production. The new policy will include ways of easing the processes involved in obtaining approvals for shooting and disbursement of subsidies. The state has consistently attracted filmmakers from around the world due to its scenic locales like forts, palaces and sand dunes. 'Classics like Mughal-e-Azam (1960) and Guide (1965) were shot in the state. Endless scenes of dunes, drying chillies and village locations are commonplace for films with a rural setting. Even some of the blockbuster television serials and advertisements have Rajasthan as their backdrop,' a tourism department official said. He added that Hollywood has also utilised Rajasthan's locations, with films like Octopussy (1983) and Holy Smoke (1999). Globally renowned director Satyajit Ray also shot a large portion of Sonar Kella (1971) in the state. The tourism department is also planning to map the potential of adventure tourism activities (water-based, air-based, and land-based), in consultation with concerned departments and prepare a dedicated policy to provide a framework to entrepreneurs to set up relevant projects in the state. According to an initial plan, the department will work closely with the forest department, the Rajasthan State Forest Development Corporation, local bodies, and the irrigation department for the development of adventure tourism activities. Rajasthan Tourism Development Corporation (RTDC) will be the implementing agency for these activities.
