ABSTRACT
Indian historical films are generally known for their excess and romanticism and are justly criticised for the way they appropriate or even distort history for commodification. Nonetheless, in the hands of masters like Mehboob Khan and K. Asif, the historical has paved the way for engaging with politics both of the period of their narrative and production. This chapter argues how Humayun (1945) and Mughal-e-Azam (1960) have resonances for the present times of religious divide and extremism. The focus in Khan's Humayun is on unifying a disparate and fragmented nation and mobilising the people across borders for fighting the coloniser before Independence by invoking the predicament of the titular king when he tried to quell his enemies from within his family and outside to fulfil the syncretic dream of his father, Babur. Whereas in K. Asif's Mughal-e-Azam, it shifts to Humayun's son, the Mughal emperor Akbar to foreground his benevolence, making a case for a secular India after Independence through inclusivity of religions. However, Akbar is in dire conflict regarding the class divide with his son Prince Salim who wants to marry his beloved Anarkali, the kaneez/servant girl. By forgiving Akbar for the violence he inflicts, the Sufism-driven Anarkali emblematises the true spirit of union both here and elsewhere.
