The ultimate Inception of Indian Cinema, MUGHAL-E-AZAM, resurrected

The epitome of Indian cinema, Mughal-e-Azam, has made world cinematic history, with its re-release in colour to become the first film in the World Cinema to be colourised for a theatrical release. Along with colouring and restoring the film, the music, the background score and the sound effects of the film, which were first recorded in the 1950s, have been re-recorded by the original composer, Naushad Ali and re-created for a true Dolby/ Dts 6.1 experience, another first for world cinema.

Mughal-e-Azam, recognised as a world cinematic classic, will be launched nationwide in the UK on 1st April 2005, and like its original release more than 40 years ago and its re-release in India late last year, the film is anticipated to supersede all existing box office records set by any Bollywood film, globally.

From the sets – sweeping, regal palaces, sandscapes, dungeons and escape routes – to the costumes and exquisite jewellery - to the innumerable extras, Mughal-e-Azam, which took an incredible nine years to make (1951 – 1960), is undeniably a cinematic classic, standing a monumental testament to director K. Asif's vision and commitment. The lavish song picturisations, the poignant performance of one of India’s most acclaimed legendary actors Dilip Kumar, the breathtaking beauty of the late celebrated Indian actress Madhubala, arguably one of the most beautiful actresses to have come from Indian cinema, and the ornate jewel and gold encrusted jewellery and costumes renders itself remarkably to a colour scheme that takes the epic beyond the black and white shades of the original.

The colour version of this magnum opus has renewed the life of this cinematic great, and cineastes from the UK, both old and young alike, will experience the enthralling and enchanting splendour of this grand epic. Mughal-e-Azam’s re-release in colour, has granted the ensuing generations, immediate access into this all-time classic, which will continue to remain undimmed by the tides of time.

The return of Mughal-e-Azam brings a revived version of a timeless soundtrack created 44 years ago. The haunting music, which was originally composed by one of India’s most celebrated music maestros Naushad has been re-recorded again by Naushad (now 85 years old), with meticulous care to preserve the pristine and sublime quality of each song. Music lovers will once again become enchanted by the young melodious voice of Indian nightingale and Guinness Book of World keeper Lata Mangeshkar, anthropomorphised through the coloured screen. Interestingly, while re-recording and re-mixing the songs, using a very advanced technology developed indigenously in India, the original voices of the artists and the singers have been maintained.

The original production company, Sterling Investment Corporation Pvt Ltd, has produced the new version of Mughal-e-Azam, and around 150 technical personnel worked at six different studios to complete the whole work.

Synopsis:

Set in 16th century AD, Mughal-e-Azam tells the story of doomed lovers, court dancer Anarkali (Madhubala), and Prince Salim (Dilip Kumar). Their relationship makes us ponder if we have ever seen a pair so sheathed in ardour, passion and despair as every caress, touch and breath they take exudes the power of true love. When Prince Salim’s father Emperor Akbar (Prithviraj Kapoor) learns of their love, he is furious and does his best to thwart the romance saying a commoner could never be the empress of India. Though the love story is the backbone of the film, it is Akbar's dilemma that is placed centre stage as he is torn between love for his only son and the demands of the Mughal Empire. Salim however is adamant and rebelliously leads an army against his father. He is defeated in battle and brought before Akbar who sentences him to death. Anarkali agrees to sacrifice her life for Salim to be spared and after spending the night with him is taken to be entombed alive in a brick wall.

But is Anarkali ever rescued and reunited with her lover?

Does Emperor Akbar ever accept the relationship and defy the rules of his kingdom?

Mughal-e-Azam evocatively, passionately and endearingly reveals the answers to the above, whilst captivating a mesmerised audience …

Mughal-e-Azam Fact Sheet:

Mughal-e-Azam will be on general release nationwide in the UK in March 2005.

Mughal-e-Azam is the first film in the world to be colourised for a big screen (35mm) release

The colourisation technology development and execution was completely done in India. It would be the first time that Indian cinema has achieved technological achievement ahead of Hollywood in Image Processing.

Hollywood firms have been able to colourise films only for TV or DVD output. Never before has colourisation technology been developed to transform the black and white dyes of a feature film’s print, to reveal a spectrum of true colours. The technique has been pioneered in India, where a new restoration and colourisation software was created and customised in such a manner that it accepts only those dyes that match the grey shades of the original input and incorporates features for a 35mm release. The Research and Devlopment on colourisation and restoration process took almost one and half years to develop and over 12 months of execution time. It comprises digitizing the 300,000 frames of the film at 2k resolution. In order to revive the masterpiece, gamma contrast and fungus correction, scratch and pinhole removal, digital stitching of torn frames and stabilization work has been carried out on the original negatives. This ensures that the colours selected are as close as possible to the original.

The whole exercise was extremely complex owing to exquisite clothing and the ornate jewellery and grand sets used in the movie.

The old version of Mughal-e-Azam was showcased in more than seven international film festivals across Europe and the US in 2003-04. The first screening of the new version was held at the Berlin Film Festival on 18th February, 2005 and showcased in the Retrospective &Homage segment, which has screened other classics such as Citizen Kane, Gone With The Wind and Wizard of Oz. Mughal-e-Azam was launched with 150 prints on November 12th 2004 and is now running successfully in 194 prints in India and the Gulf. The number of prints is set to increase to over 250 when launched overseas in the UK and US. Gone With The Wind was re-released in 1998 with 200 prints.

Mughal-e-Azam was made at a time when colour technology had just been introduced in India. In paying heed to this technological development, K. Asif’s desire was to re-film Mughal-e-Azam into colour, as this would best portray the magnitude of his film. He was only able to shoot four reels in colour, and as a result of impatient distributors (who had already waited for nine years), Mughal-e-Azam was released 85% in black and white and 15% colour. Nonetheless, the colourisation of his film signifies the fulfilment of K. Asif’s incomplete vision and not a tamper with art. The artists of the film, the heirs of the artists and the family of K Asif are all very happy with the new version.

The film was re-released in India on the same scale and grandeur as was done in 1960, for instance, the print for Mughal-e-Azam was once again unloaded at the cinemahall from an elephant top (as in 1960), becoming one of the most talked about film premieres in the world.

When originally released in 1960 in Maratha Mandir, India, the film had 100% booking requests for seven weeks even before the first show of the film. The film had an uninterrupted run for three years in full shows, a record unbeaten for 44 years.

While creating a 21st century cinematic experience, the originality of the film was completely maintained – a rare combination of Medieval Art and Contemporary Technology.

In the shooting of the war scenes, 2000 camels, 4000 horses and 8000 army men from the Indian army took part. In the war scenes, real soldiers, horses, cavalry from the Indian army was used, arranged through a special permission from the Ministry of Defence, India.