A few motion pictures are intended to be seen for the script, some for the exhibitions, some for the creation values, some for the music and still some for the director? s capacity to rise above all latency and present a fantasy; however there are some which rise above all breaking points and turn into a benchmark for the progressive eras of movie producers.
One of these is Mughal-E-Azam, a spectacle which is a contextual investigation for each one of those slanted to trust that filmmaking is about camera points and extravagant outfits, about cinematography and 50 crore spending plans. A motion picture that says a lot about the steadiness and devotion of one man to a fantasy that remained constant inspite of serious misfortunes, Mughal-E-Azam is an entire full lunch, a luxurious dining experience for the eyes and an epic in movement. I would not do equity to the motion picture on the off chance that I don’t call it a watershed ever.
Mughal-E-Azam portrays the account of an Emperor Akbar ( Prithviraj Kapoor) got between his adoration for his obligation as a sovereign and his affection for his child and the situation he ends up in when these two proceed onward a course bound to put them on loggerheads with each other. On another level, Mughal-E-Azam is additionally the narrative of two star-crossed beaus ( Salim and Anarkali) got in the whirlpool of nationalistic and social standards that are yet a premonition of the impending fate in their adoration story. To the credit of the film, both stories proceed onward parallel tracks and still keep up their innovation and supplement each other like multi-layered layers of the same hull. Prithviraj Kapoor is just splendid in his execution as Emperor Akbar. The blasting voice, the towering identity and the exceptional anguish in his eyes say a lot