Mughal emperor Akbar walks barefoot on the burning sands to pray for a son at the feet of Salim Chishti, a Muslim saint who lives in Sikri, more than twenty miles west of Agra, the imperial capital. With the saint's blessings, Jodha Bai, the Rajput wife of Akbar, gives birth to Salim. A maid brings the news to Akbar and is rewarded with a royal ring, and the promise that by presenting the ring, she can demand from the emperor one special favor. Salim grows up a debauch, pampered by the palace women till his despairing father sends him to the battlefield at the border of his expanding empire. Having proved himself as a warrior, Salim is recalled to the palace where Jodha Bai orders her closest companion, Bahar, to prepare a celebration and engage a sculptor to create an image of great beauty in her son's honor. The sculptor, with a curious obsession for truth, and disdain for pomp and power, provocatively presents a real slave-girl as a stone image. Amused, Akbar requests Jodha Bai to accept the girl as part of her entourage, and names her Anarkali, the flower of the pomegranate. The next day, by the emperor's orders, Anarkali sings and dances in the palace celebrations and charms the prince with her performance. Thus begins a romance that shakes the Mughal throne and nearly destroys Akbar's empire. The heir to the Mughal inheritance promises a slave-girl that she will be queen of Hindustan one day. When the jealous Bahar conveys to Akbar news of his son's indiscretion, the outraged emperor imprisons Anarkali. Faced with Salim's defiance, Akbar orders Anarkali to convince Salim that she has never loved him. Anarkali, who fears that her love can only harm Salim, submits to the emperor's wishes. But before she can carry them out, Bahar tells Salim that unable to bear her chains, Anarkali has accepted Akbar's suit. She will celebrate her release with a dance before giving herself to the emperor. Salim rages at a silent Anarkali. Yet, dancing in the hall of mirrors watched by the royal family, Anarkali sings a song of fearless love which will survive even death. The message is clear, and she goes back to the dungeons. When Salim protests, he is ordered back to the battlefield. Salim is defiant till his faithful Rajput follower, Durjan Singh, promises to guard Anarkali with his life while the prince is away. The moment Salim leaves, however, Akbar arranges Anarkali's marriage with the eccentric sculptor, who promptly reveals to Salim what his father is plotting. Salim sends a message to Agra, proclaiming himself emperor. If his father disputes the claim, they will meet on the battlefield. Akbar orders the execution of Anarkali and visits Salim at his camp to plead with him for a last time. But when a bleeding Durjan enters the tent with Anarkali, the furious emperor declares war. Salim's army is routed, and while Durjan escapes with Anarkali, Salim is taken prisoner, tried, and condemned to death for refusing to surrender the girl. Hiding in a temple with Anarkali, Durjan hears the verdict and though mortally wounded, tries to rush out only to fall dead at the feet of the goddess. People gather sorrowfully at the public execution. Akbar himself fires the canon facing his son, but Man Singh, Jodha Bai's brother and Akbar's trusted general, deflects the shot just as Anarkali rushes up to the crowd and faints on hearing the blast. Akbar is ready to pardon Salim if Anarkali will take his place. Ordered to be walled up alive, Anarkali states her last wish: she wants to be queen for a night, so that the prince may keep his word. Akbar agrees, but insists that she must, when the night is ending, give Salim a drugged flower to make him unconscious. If she does not do so, Salim will not let her die, and Akbar will not let her live, says the emperor. Anarkali sits dressed as a queen in the hall of mirrors with her prince. Bahar sings to entertain them, but the hidden barbs in her song on what the morning will bring, distresses Anarkali. She accepts the inevitable, and holds the drugged flower near her lover's face. As Salim sinks into unconsciousness, he realizes the truth, but has no strength to resist the black-cloaked men who drag Anarkali away. Years ago, at Salim's birth, the maid to whom the emperor had given a ring as a reward, now comes to Akbar. "She is my daughter; save her life," she pleads. Akbar pretends not to remember his promise and the maid is removed forcibly from his presence. But later, the emperor himself leads the maid blindfolded into an underground chamber where waits Anarkali. He shows her the tunnel through which she must take her daughter away from his city. Salim must never know that Anarkali still lives. Anarkali recedes into the darkness of the tunnel wordlessly, to a living death.

The story of Anarkali presented in Mughal-e-Azam is not based on historical facts, but a fiction based on the character nicknamed Anarkali who was one of the 'kaneezes' in the palace. Film has presented this character as palace dancer with an excellent approach. Story's theme is beautifully bridged among characters by the presence of 'sangtrash' superbly played by Kumar. As the name says, the story is based for Akbar, the Mughal-e-Azam, played with authority by Prithviraj Kapoor, who has lived the character of the great king. Most perfect part of director's presentation is the role of Salim, played by Dilip Kumar, who has acted superbly to look like a prince and not a hero. Director here believes that a prince in Mughal grandeur will not sing songs, a perfect approach. Madhubala is more Anarkali than herself with an excellent performance. Nigar Sultana has filled the character of Bahar nicely. Durjan, Salim's great friend, played by Ajit is one of his career's best. Durga Khote has proved to be queen as well as a mother in her character.

Film's real remarkable parts are its dialogues. Kamal Amrohi, Aman, Ahsan Rizvi and Vajahat Mirza have proved themselves as team of 'geniuses'. Just a single dialogue at the end of 'bait-baazi' qawali, when salim presents first flower to bahar, and to Anarkali 'kaante' – "lo Anarkali tumhare hissey mein yeh kaante aaye hai" Anarkali responds, "Zah-e-naseeb! Kaanton ko murjhane ka gham nahin hota". This single dialogue tells a complete story. Every dialogue is so beautiful and inserted so perfectly that the Mughal grandeur is felt alive thus giving life to the film.

Music score by Naushad is another remarkable achievement and lives in every moment. This score is, without doubt, one of his best. A real genius has created the greatest blend to give life to the Mughal grandeur of Akbar. Bade Ghulam Ali Khan has created a sensation of no parallel. All songs are excellent and are expected to live for generations to come.

Set design is real artistic to present Mughal life. The Sheesh Mahal set is the most talked about where a dance number is artistically filmed in color. Cinematography is of great merit. Director Asif has proved himself a creator who can bring dreams to life.

Production History

K. Asif, full name Karim-ud-Din Asif, had a lifetime dream to make film on the story of Anarkali, brought to life by the famous play written by Syed Imtiaz Ali Taj. In 1944, he originally picked up the subject with Sapru as Salim, Nargis as Anarkali and Chandra Mohan as Akbar. In 1946, Chandra Mohan died in 1946. Then Shiraz Ali Hakim, Asif's financier, migrated to Pakistan and communal riots brought the film industry to a standstill. The film was shelved. His dream might have remained unfulfilled but for his ambition. When 'Anarkali' was announced with Pradeep Kumar as Salim, Bina Rai as Anarkali and Mubarak as Akbar, Asif again announced the making of his 'Mughal-e-Azam'.

Filmistan's 'Anarkali', produced by S. Mukerjee, was completed in record time and hit the screen in 1953 and proved a hit. Asif remained undaunted with Filmistan's hit, and knew that the theme of the Anarkali legend offered tremendous possibilities, and it was up to the film-maker to capitalize on the grandeur of the Mughal Empire at its zenith and, with imaginative handling, create a monumental epic. 'Mughal-e-Azam' took a record nine years to complete -- from 1951, when Asif took over two stages from Mohan Studios at Andheri, to its final release in August 1960. When released it was acclaimed by the masses and praised by critics for its brilliance establishing itself an all time great epic.