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Mughal-e-Azam is a family history highlighting the differences between father and son, duty to the public over family, and the trials and tribulations of women, particularly of courtesans. According to Rachel Dwyer, author of the book Filming the Gods: Religion and Indian Cinema, the film highlights religious tolerance between Hindus and Muslims.
Distributor and color conversion company Above and Beyond: 1952: 1992: Turner Entertainment [1] [2] The Absent-Minded Professor: 1961: 1986: The Walt Disney Company [3] (Color Systems Technology) [4] [a] An Ache in Every Stake: 1941: 2004: Columbia Pictures (West Wing Studios) [7] Across the Pacific: 1942: 1987: Turner Entertainment [8] Action ...
In 1960, after twelve years in production, Mughal-e-Azam was released and became a huge hit at packed cinema houses across India. [1] After the release and success of Mughal-e-Azam, Asif planned yet another motion picture called Love and God, his first directorial venture to be made completely in color, and began production.
In 2004, a classic Indian film, Mughal-e-Azam, was colored for theatrical release all over the world by the Indian Academy of Arts and Animation (IAAA) in association with Sankranti Creations. Since 2013, Livepixel Technologies, founded by Rajeev Dwivedi has been the sole player in film colorization business and almost completed more than 100 ...
Mughal-e-Azam ₹ 1.5 crore [132] [133] 1975 Sholay ₹ 3 crore [134] 1980 Shaan ₹ 6 crore [135] 1983 Razia Sultan ₹7 crore [136] 1991 Ajooba ₹8 crore [137] Shanti Kranti ₹10 crore Kannada Telugu Tamil Hindi [138] 1995 Trimurti ₹11 crore: Hindi [139] 1996 Indian ₹ 15 crore Tamil [140] 1998 Jeans ₹ 20 crore [141] 2000 Raju Chacha ...
The 8th Filmfare Awards were held in Bombay to honor the best films in Hindi cinema in 1961.. K. Asif's magnum opus Mughal-e-Azam led the ceremony with 11 nominations, followed by Chaudhvin Ka Chand with 6 nominations and Parakh with 5 nominations.
The decade-long principal photography for Mughal-e-Azam came to an end in May 1959 and left her exhausted, both physically and mentally, to a point that she began considering a retirement. [109] Mughal-e-Azam was first of Madhubala's two films in colour; it had four reels shot in Technicolor. [110]
On the same theme, Mughal-e-Azam was released in 1960, which turned out to be one of the biggest box office successes in the history of Indian cinema and a major critical success as well. [1] While Anarkali portrayed the story from Anarkali's perspective, Mughal-e-Azam told the story from the perspective of Mughal emperor Akbar.