Shreya Singla

55084412

ASIA 433: Representations of Muslims in Hindi/Urdu Films

Critical Film Review: Mughal-e-Azam (1960) with reference toRepresentation of the Mughals in

Present-Day India: From K. Asif’s Akbar to the Babur of Nikkhil Advani by S.A.N Rezavi (2022)

K. Asif’s Mughal-e-Azam (1960) is a monumental work in the history of Indian cinema,

representing both a cultural as well as a cinematic landmark. The film is set during the reign of

Emperor Akbar, and it dramatises the historical love affair between Prince Salim, Akbar’s son, and

Anarkali, a court dance. Prince Salim later reigned under the name of Emperor Jahangir. Beyond the

epic love story that this movie is, Mughal-e-Azam engages with the themes of power, loyalty, duty

and sacrifice.

The film Mughal-e-Azam is of high cultural significance. It was released during a time when India

was still navigating its post-colonial identity. The film renewed people’s interest in the Mughal

period and symbolised it grandeur, wealth and power in Indian history. Mughal-e-Azam does a great

job of bringing such historical figures to life and it invites audiences to reflect on India’s legendary

past. It also gives us an insight into the class hierarchy, power struggles and the role of individual

agency within an authoritarian framework.

Mughal-e-Azam holds a lot of significance as an artistic masterpiece in the Indian cinema. It was a

commercial success due to the elaborate set designs, the exquisite costumes and the innovative use

of colour; the movie transitioned from black-and-white to colour in the iconic song “Pyaar Kiya To
Darna Kya”. This movie reinforced the viability of historical epics as a genre in Bollywood. The

movie is still considered a benchmark for cinematic excellence in India and it also continues to

resonate with contemporary issues of modern audiences.

Mughal-e-Azam opens with a grand introduction to the Indian subcontinent, talking about its rich

history and the glory of its land. The narrator contrasts the two kinds of rulers that have ruled the

great lands of India; those who looted India and those like Emperor Akbar, who truly loved and

nurtured the country. Akbar is depicted as a leader who brought prosperity to India and taught its

people how to live in peace and harmony.

Akbar’s reign is marked by his deep longing for an heir. In the starting scene of the the movie,

Akbar, played by Prithviraj Kapoor, is walking across the desert, praying for a son as he journeys

to the holy dargah of Hazrat Sheikh Salim Chishti. Akbar, with immense humility, bows before the

Saint, pleading, “Akbar ko duniya mein be namo nishan na bana,” asking to not be left without a

legacy. His prayers are answered when Jodhabai, played by Durga Khote, gives birth to Salim (later

known as Emperor Jahangir). The palace is filled with joy, and Akbar is overjoyed when a maid

delivers the news to him. As a token of gratitude, he rewards her with his ring, and swears on a

scale (tarazoo), promising to grant her any favour she asks for in the future.

As Salim grows older, his indulgent nature becomes evident. In one scene, he is shown mesmerised

by a dance performance. He becomes a drunkard and starts taking matters of the Royal household

very lightly. Recognising the dangerous path Salim is heading down towards, Akbar orders Raja

Mann Singh, played by Murad, to take Salim to war and strip him of any luxuries. Jodhabai,
Salam’s mother, is heartbroken as she is not even given a chance to bid him farewell, reducing her

role to that of a sorrowful mother.

After 14 long years on the battlefield, Salim returns home, battle-scarred yet still a poet at heart. his

refusal to let anyone wash his wounds reflects his transformation into a hardened warrior. Akbar,

proud of his son, calls Salim back to the palace. Bahar, played by Nigar Sultana, who is a royal

maid, awaits Salim with her own ambitions of becoming queen. As a part of the grand welcome

party planned by Jodhabai for Salam’s arrival back home, Bahar arranges for Salim to see a statue

that she claims is so beautiful that it can cause a warrior to drop his sword, a king his crown and a

man his heart. Salim sees the statue covered and is very intrigues. Even thought the priest advised

him not to see the statue until the next day, he takes a peek inside and is mesmerised by it. The

sculptor had not finished the statue in time and had Anarkali stand in its place. Bahar overheard the

sculptor and Anarkali talking to each other and plots to reveal this facade the next day, when the

statue was supposed to be revealed.

The next day, Bahar shows up with a bow and arrow and requests Salim to unveil the statue by

shooting at it. She plans on doing this so that Anarkali gets scared and gives away that she is not a

statue. Even though the arrow is shot, Anarkali doesn’t move, she only moves to greet the Emperor

and tells her about the innovative idea that the sculptor had. Upon seeing Anarkali, Salim is

absolutely captivated. Akbar, impressed by Anarkali’s grace, bestows upon her the name Anarkali

and appoints her as a royal maid. The next day, Anarkali gives her first performance in the royal

court as Radha on Janmashtami. Enthralled by her beauty, Salim gifts her a precious necklace.
Akbar is pleased by the performance but Bahar senses something deeper is brewing between Salim

and Anarkali.

Anarkali’s sister is seen teasing her about Prince Salim and how he might be in love with Anarkali.

To which Anarkali replies, “Khuda ke liye aise khab mat dikha, jinko dekhni ki yeh kameez jurat bhi

nahi kar sakti.” She is aware of the consequences of loving the Prince and the she knows that as a

lowly maid she is not deemed worthy of him. Surayiya, played by Sheila Dalaya, acts as a

messenger between Salim and Anarkali, this is what starts their love story. This secret love affair

blossoms, much to the chagrin of Bahar, who, fuelled by jealously, challenges Anarkali to a

qawwali competition in front of Salim.

As Salim becomes more absorbed in his love for Anarkali, his royal duties begin to suffer. Akbar

sends Durjan, played by Ajit, to Agra to investigate Salim’s whereabouts and learns that Salim is

distracted by his romance with Anarkali. Akbar personally travels to Ajmer, where he finds Salim

and Anarkali together. The next day, Anarkali is arrested, and Salim, desperate to save her, pleads

Jodhabai to intervene. She refuses to help him, citing the impossibility of going against Akbar’s

decision.

Presented before Akbar, Anarkali remains defiant, refusing to abandon her love for Salim.

Meanwhile Bahar, in an attempt to cause a rift between the lovers, tells Salim that Anarkali has been

bribed by Akbar and she is ready to leave the state just for mere money. Salim confronts Anarkali,

accusing her of betrayal. In a dramatic turn of events, Anarkali performs the iconic song, “Pyaar
kiya to darna kya,” boldly declaring her love for Salim in front of the entire royal court confirming

her devotion to Salim. This leads to her getting arrested once again.

Salim urges Akbar to view the situation as a father, but Akbar, torn between his role as an emperor

and a father, refuses, saying that he cannot change the fate of India for his son’s desires. Bahar,

playing both sides, gives Salim they key to Anarkali’s prison chamber but also informs Akbar of

Salim’s plans to rescue Anarkali. Their escape fails, and Anarkali is re-arrested. Durjan, being the

loyal soldier he is, saves Anarkali and gets injured in this process.

In the meantime, Salim raises an army against his father, leading to a heartbreaking conflict. Akbar

wins the battle but spares Salim’s life. He offers Salim a choice: to hand over Anarkali or face

execution. Salim chooses to stand by Anarkali and Akbar, with a heavy heart, sentences his own son

to death.

As Salim is about to be executed, Anarkali surrenders herself, offering her life in exchange for

Salim’s. She requests to spend one night as Salim’s wife under the condition that she must not

reveal her fate to him and he must be drugged. In a twist of things, Anarkali’s mother - who is

revealed to be the maid who had brought the news of Salim’s birth - approaches Akbar to redeem

the favour he had promised her years ago. Akbar, coldly denying his promise, is reminded by her

that God is watching.

tunnel by Akbar. Akbar spares her life after all and was moved by strength of Salim and Anarkali’s

love. He bows down to their eternal bond, even though he knows that history will remember the

Emperor’s final decision differently. She has to flee the country and Salim would never get to know

that she is alive.

This grand tale of love, war, and the conflict between duty and desire ends with the tragic yet

everlasting love story of Salim and Anarkali, immortalised in the echoes of the Mughal court.

Mughal-e-Azam heavily relies on mythical characters to support the romantic plot of the movie.

Anarkali’s character, as pointed out by Rezavi in his article as well, is based on a legend and there is

little historical evidence to support this story (Rezavi, 2022). Similarly, the depiction of Jodha Bai

as Akbar’s wife is also something that has been widely questioned in historical texts, even Rezavi

argues that she was likely Jahangir’s wife and not Akbar’s (Rezavi, 2022). By using such fictional

characters for the plot of the film, the movie prioritises a compelling narrative over historical

accuracy of facts. This myth-making serves to enhance the emotional gravity of the film but tends

to distort the realities of the Mughal history.

The film was released in 1960 wherein it tends to reflect the political aspirations of Post-

Independence India. Akbar’s portrayal aligns with the Nehruvian ideals of secularism and harmony,

depicting him as a ruler who promotes unity across religious and cultural lines (Rezavi, 2022). This

construction of Akbar is serving a dual purpose; it is creating a historical figure who at that time
resonated with the contemporary ideals and also creates a narrative of religious tolerance and

coexistence amongst people. This selective portrayal fails to show the complexities of his rule

thought, as the movie fails to include his political pragmatism and religious intolerance during his

early years of reign (Rezavi, 2022).

Akbar’s policy of sulh-i-kul (universal tolerance) and is marriage to Jodha Bai are things that are

central to the plot of the film and to the portrayal of him as a unifier of Hindus and Muslims. This is

meant to promote national integration. But, as mentioned before and also pointed out by Rezavi, the

film omits the earlier, less tolerant aspects of Akbar’s reign (Rezavi, 2022). This omission reduces

the complexity of his character in the film, turning him into a near-flawless ruler who aligned with

the film’s ideological slant of promoting unity over division.

The films is a classic Bollywood romance, where historical reality takes a backseat for emotional

and romantic core of the film. The love story between Salim and Anarkali, while is captivating,

tends to overshadow the political and social realities of the Mughal era (Rezavi, 2022). The film did

depict issues such as the standing of the women in royal households and how even Malaika-e-

hindustan, Jodhabai, was helpless in most of situations as she was often overruled by any decision

that was made my a man in the house. The movie focused on romanticising Mughal history rather

than focusing on raw issues which blurs the line between historical drama and fantasy.

Rezavi also points out that the film’s visual aesthetic contains many inaccuracies, particularly in its

portrayal of the Mughal architecture and clothing (Rezavi, 2022). Many of the buildings as well as
the costumes that are shown in the film are more appropriate to the time of Shah Jahan, Akbar’s

grandson, rather than Akbar’s era (Rezavi, 2022). The film focused more on grandiosity and

opulence even if it meant disrupting the material culture of Akbar’s reign in the process.

The enforced separation of Salim and Anarkali further illustrates the rigid class structures that

existed in the Mughal court. As a court dancer, Anarkali belonged to a lower social stratum,

rendering her an unsuitable match for the crown prince Salim. In these times, royal marriages were

carefully arranged to ensure political alliances and social continuity. By saving Anarkali’s life, the

Emperor displays mercy, but his decision also reinforces the idea that even exceptional individuals

from lower social classes, such as Anarkali, cannot transcend the limitations imposed by their

status. Akbar’s resolution of the conflict in Mughal-e-Azam reflects the balancing act between

justice and mercy that characterised his reign. The balance between punishment and mercy

reinforces Akbar’s image as a wise and judicious ruler who understands the complexities of

governance. His decisions reflect the demands of political power and his attempt to navigate the

moral dilemmas that accompany absolute authority.

In K. Asif’s Mughal-e-Azam, Emperor Akbar is depicted as a multifaceted ruler whose character is

shown to embody both the ideals of love and political power. Akbar is portrayed as a compassionate

and benevolent leader who is deeply concerned about his legacy. At the start of the film, we can see

this through his vulnerability and commitment towards his empire via siring an heir for the throne

(Rezavi, 2022). Akbar is also defined by his fierce loyalty to the throne, so much so, that he

sentenced his own son to death. This loyalty is evident in the famous dialogue “Salim tujhe marne

nahi dega aur hum Narkali tujhe jeene nahi denge,” He cared so much about the the Mughal
lineage that he was determined to kill anyone who could pose a threat to the integrity of his lineage.

This statement also tells us about the intense emotional stakes within the narrative of the story as

Akbar grapples with his responsibilities both as a father and an emperor. His eventual decision to

spare Anarkali’s life, motivated by the depth of Salim and Anarkali’s love, adds a layer of

complexity to his character, showing his capacity for compassion amidst the harsh realities of

governance (Rezavi, 2022). Akbar is also depicted as a devoted husband who values Jodha Bai’s

presence and her opinions, but at the same time it is also marked by the realities of court politics

and his obligations as an emperor. Jodha Bai’s role is often relegated to that of a supportive figure

within the patriarchal structure of the empire. Throughout the film, Akbar demonstrates affection for

Jodha Bai, but his love is tested by the tensions arising from Salim’s forbidden romance with

Anarkali. There is also an immense emotional distance that is evident in royal marriages, where

duty takes precedence over romance.

Salim is one of the central characters in Mughal-e-Azam and his character reflects the struggles of

his relationships with his father, Akbar, and his beloved, Anarkali. As the son of Emperor Akbar,

Salim had an immense pressure as the heir to the throne. He is shown to be an indulgent boy at the

start of the film, which results in him being sent away for 14 years to transform into a warrior.

Salim is a poet at heart, even in the bloodbath of the battlefield he doesn’t lose touch with that side

of him. Salim’s love for Anarkali is the driving force of the entire plot. This love is what represents

his desire to break free from the constrains of his royal identity. The entire time, he begs his parents

to show compassion and look at the entire situation as his parents and not as a king and queen, this

shows the fact that he is well grounded in the fact that even royal subjects deserve to have human

sides to them. His relationship with Anarkali is marked by intense passion and rebellion against the

societal norms that dictate their separation. Salim’s willingness to defy his father for Anarkali
illustrates the depth of his love, but in some ways it also highlights his immaturity and the

consequences of his choices. Salim’s decisions are often driven by emotion rather than reason,

leading to tragic outcomes. Salim’s character in Mughal-e-Azam is vividly illustrated through his

passionate exchanges with his father, Akbar, particularly in a memorable dialogue that encapsulates

his rebellious spirit and desire for autonomy:

Akbar: “Humara Hindustan koi tumhara dil nahi ke laundi jiski mallika bane.”

(“Our Hindustan is not your heart, which this commoner can be made the queen of.”)

Salim: “Toh mera dil bhi koi aapka Hindustan nahi jispar aap hukumat karein.”

(“Then my heart is not your Hindustan, over which you can rule.”)

This exchange is crucial in understanding Salim’s personality. It reveals his fierce independence and

unwillingness to submit to his father’s authority, drawing a parallel between his love for Anarkali

and his vision of freedom. The metaphorical comparison of his heart to a kingdom emphasises his

emotional depth and the intensity of his feelings.

Anarkali’s is portrayed not merely as a dancer but as a multifaceted woman of strength, conviction

and depth. She embodies the complexities of love and the sacrifices it requires. She is constantly

aware of the societal and political consequences of her romance with a Prince. Anarkali’s awareness

of the consequences of her love for Salim is what causes the conflict to arise in the plot. Despite

being a royal maid, she possesses a strong sense of self and if unafraid to express her feelings. Her

interactions with Salim are marked by stolen glances and secret meetings, which highlight the

intensity of their romance. The musical sequence “Pyaar Kiya to Darna Kya” captures the essence

of their forbidden end love and the courage that Anarkali has to profess her love in front of the
entire royal court. The song’s lyrics and vibrant choreography further emphasise Anarkali’s spirited

nature and her willingness to embrace love, despite the threat of being killed. Moreover, Anarkali’s

ability to stand before authoritative figures such as Akbar and stand her ground even in jail shows

her resilience. Even in the end of the movie, she refuses to curtsy in front of Akbar.

In conclusion, K. Asif’s Mughal-e-Azam is the perfect example of a movie that weaves together the

themes of duty, power, and love along with the framework of Mughal history. The movie manages

to captivate audiences still, with its emotional depth. The movie also provokes critical thought about

the intricacies of historical narratives through the romance between Salim and Anarkali. Even

though the movie blurs the lines between fiction and reality, it does present a selective picture of

Emperor Akbar that places more emphasis on kindness while ignoring more brutal parts of his

reign. Mughal-e-Azam remains not only a cinematic masterpiece but also a movie that is significant

culturally. It is one of the few movies that have helped shape the national identity.
 References

Asif, K. (Director). (1960). Mughal-e-Azam [Retreived from UBC Online Library].

Rezavi, S. A. (2022). Representations of the mughals in present-day India: From K. Asif’s Akbar to
the Babur of Nikkhil Advani. Studies in People's History, 9(2),241-254.
https://doi.org/10.1177/23484489221120100