How 'Mughal-e-Azam' and 'Chaudhvin Ka Chand' brought poetry to Hindi films

Swami Vivekananda once said, “Take up one idea. Make that one idea your life – think of it, dream of it, live on that idea. Let the brain, muscles, nerves, every part of your body, be full of that idea, and just leave every other idea alone. This is the way to success.” Anil Zankar, freelance filmmaker, writer and teacher, ends his book Mughal-E-Azam: Legend as Epic, with this wonderful quote to describe the effort K Asif put into making this film.

Mughal-E-Azam released on August 5, 1960. It took 500 days of shooting spread over a decade for Asif to make this film. While the normal budget for a big film at that time was about Rs 15 lakh, Asif’s production cost ten times that. For the battle scenes, Asif engaged one whole division of the Indian army for two months in Rajasthan. The result was a film that is a milepost in Hindi cinema, remembered most for its fine performances from its lead cast of Prithviraj Kapoor, Madhubala and Dilip Kumar and grand, magnificent sets. In the upcoming episode of The Golden Years: 1950-1975, Javed Akhtar says, “Despite knowing how the story plays out, the film left a deep impression on audiences. I feel that the Indian film industry and all of us should be proud of this film and that pride is not misplaced.”

Actually, Mughal-E-Azam was based on Imtiaz Ali Taj’s play Anarkali which he first wrote in 1922 and then rewrote in 1931. Before Asif’s Mughal-E-Azam, three other, earlier films borrowed from Ali’s play. These were Anarkali (1928) directed by Prafulla Roy and Charu Roy), Anarkali (1935) directed by RS Choudhury and Anarkali (1953) directed by Nandlal Jaswantlal. However, Asif’s film had a less tragic ending than the play since Anarkali’s life is spared by Akbar in the film.

The songs brought out Mughal-E-Azam’s drama all too beautifully. The onset of romance between Salim and Anarkali itself is presented through the lilting number, ‘Mohe Panghat Pe Nandlal’. When Bahar and Anarkali battle for Salim’s affections, they do it by trading quips through the qawwali, ‘Teri Mehfil Mein Kismat’. But the song that really brought out the essence of Mughal-E-Azam was the Shakeel Badayuni song, ‘Jab Pyaar Kiya Toh Darna Kya’. In the 1953 film, Anarakali sings the somewhat apologetic, ‘Mohabbat Mein Aisey Kadam Dagmagaaye’ in front of Emperor Akbar. But in Asif’s film, Anarkali’s tone is defiant as she challenges the authority of the great emperor in the sheesh mahal, in full view of the people in attendance. Matching the poetry of the film’s songs were its dialogues. And this is why Javed Akhtar says, “I sincerely believe that Mughal-E-Azam’s script is worthy of being taught in colleges. It is so well written. Certain scenes in the film are almost Shakespearean.”

Another film that released in 1960, and for which Shakeel Badayuni was once again in sparkling form, is Chaudhvin Ka Chand (1960). The film was apparently the first Muslim social made in mainstream Hindi cinema since independence. The film’s title track has gone on to represent the essence of romance across generations. Picturised on Guru Dutt and Waheeda Rehman, and set to composer Ravi’s music, Badayuni’s lyrics married high Urdu grammar with exquisite poetic metaphors. Lines like ‘Zulfein Hain Jaise Kaandhon Pe Baadal Jhukey Huey’ or ‘Hothon Pe Khelti Hai Tabassum Ki Bijliyaan’ left audiences completely mesmerized. From that fine song written in 1960 to the more contemporary ‘Ishqwaala love’ (Student of the Year, 2012), the audience’s vocabulary and syntax for romance has indeed come a long way. 

Other songwriters like Shailendra spoke to film audiences in a far more straightforward, simpler way. In a film like Jis Desh Mein Ganga Behti Hai (1960), Raj Kapoor’s character sings a number of songs like, ‘Mera Naam Raju Gharaana Anaam’ and ‘Hothon Pe Sachaayee Rehti Hai’, which could be understood by the gentry and masses alike. These were the songs of the common man and in the language of the common man.  Akhtar says that such songs were very much in keeping with Raj Kapoor’s philosophy which was, “A film’s song should be written and composed in such a way so that even someone who sings badly, is capable of humming it.” 

Watch the next episode ofThe Golden Years: 1950-1975 with Javed Akhtar this Sunday at 8 pm to know more about the many fine Hindi film songs from 1960.