When Mughal-e-Azam was originally announced in 1944 by Mumbai's Movietone Studio, the main cast comprised Chandermohan, Nargis and Sapru.

Chandermohan died of a heart attack and some of the film's cast, including the financiers, migrated to Pakistan after Partition. The film was revived in 1951 with the new cast.

Naushad lost the Filmfare Award to Shankar-Jaikishen for their film Dil Apni Aur Preet Parayi.

Naushad's music in the epic is particularly remembered for the two songs sung by Ustad Bade Ghulam Ali Khan Subh din aayo and Prem jogan ke sundari pio chali. For the song Ae mohabbat zindabad, Naushad used a chorus of 100 singers!

To picturise the classic song Pyar kiya to darna kya, the crew used every light available to them, including the headlights of 500 trucks! As the Sheesh Mahal set was huge -- 35 feet high, 80 feet wide and 150 feet long -- there was a tremendous glare due to the thousands of mirrors, which was a tough challenge. Mathur had to use over 100 reflectors to deflect the lights.

Most of the film was shot at night so that lights could be borrowed from other studios and returned in the morning. Mathur bagged the Filmfare Best Cinematographer Award for his effort.

The shooting schedule for the film alone spanned over 500 working days. Craftsmen from across India worked on the production. Tailors from Delhi stitched the costumes, Hyderabadi goldsmiths fashioned the jewellery, craftsmen from Kolhapur made the crowns and ironmongers from Rajasthan fabricated the weapons and armours.

Artisans from Surat-Khambayat created the exquisite zardozi embroidery on the costumes and shoemakers from Agra crafted the ornate footwear.

The new Mughal-e-Azam, besides being coloured, enjoys an optimised, digital soundtrack. The original music director, Naushad, worked with Uttam Singh to recreate the music.

Though the notes were rerecorded, the voices of the original singers have been used. Around Rs 6.5 million has been spent on modernising the sound track.

A Florida based company, Westlake Inc, was given the colourisation job. A team of 50 Indian technicians who worked on the colouring procedure spent Rs 30 million.

It took 18 months to develop the software to digitise K Asif's Mughal-e-Azam by The Indian Academy of Arts and Animation, and 10 more months to colour all the negatives.

For realism, K Asif used real chains on Madhubala. But as Madhubala was very ill due to a severe heart ailment, the heavy chains would give bruise her skin deeply, and make it blue.

Despite her health, Madhubala was keen on completing her shoot, as she knew it was the role of a lifetime.

Despite her health, Madhubala was keen on completing her shoot, as she knew it was the role of a lifetime.

Tabla maestro Ustad Allah Rakha's son, Zakir Hussain, was considered for the role of the young Salim, which ultimately went to Jalal Agha.

The conveniences of digital editing were obviously unavailable in 1960. Neither were there cameras that could take close-ups of emperors and princes atop their elephants.

In Mughal-e-Azam's war scenes, the close-ups of Dilip Kumar and Prithviraj Kapoor in the war scenes were shot in a studio, while the long shots were taken in a field.