It was something he wanted to do, but it didn’t seem possible. In 2004, Khan was watching the colour version of Mughal-e-Azam when he had an audacious thought: It’s structured like a play and can be staged. The acting, the screenplay, the dialogue, the music, the lyrics, the performances… And it has a dream cast - you can’t get a cast like that… Madhubala ko dekhiye, aur khatam uske pyaar mein… Mughal-e-Azam ek bahut badi cheez hai,” he says.Īnd yet, Khan dared to touch this piece of perfection, this sacrosanct icon. The script of Mughal-e-Azam is pitch perfect… It’s one film where everything is perfect. “ Mughal-e-Azam, from the play to the script to the screenplay is a piece of literature. Sapru playing Salim, but released finally in 1960 with Dilip Kumar, Madhubala and Prithviraj Kapoor - is one such piece of perfection.įeroz Abbas Khan, the first artistic director of Mumbai’s Prithvi Theatre and a veteran director with several plays to his credit, including Tumhari Amrita, admits as much. Asif’s Mughal-e-Azam - whose shooting first began in 1946, with Nargis as Anarkali and D.K. Buildings, bridges, monuments, pieces of art, a song, a book, an athlete, a sportswoman or sportsman, a performance, an inning and, sometimes, a movie.īased on Imtiaz Ali Taj’s 1922 play about the fictional love story of Salim and Anarkali, K. And yet, every society, every culture has something that is, simply, perfect. Mostly, perfection is elusive, unattainable.
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