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The filming process of ''Mughal-e-Azam'' was physically taxing for Madhubala from the beginning. In one notable incident, she reportedly came close to suffocation while encased in heavy body paint to portray a [[marble]] statue.{{sfn|Akbar|2011|p=129}} Later, she committed to rigorous training under [[Kathak]] master [[Lachhu Maharaj]] for the "[[Mohe Panghat Pe Nandlal Chhed Gayo Re]]" musical sequence, despite being medically advised against dancing.{{sfn|Pandhye|2020|p=155}}{{sfn|Akbar|2011|p=147}} Notwithstanding these physical hardships, Madhubala remained dedicated to the production; she would continue filming ''Mughal-e-Azam'' intermittently over the next seven years while simultaneously working on other film projects.{{sfn|Akbar|2011|p=128}}
The filming process of ''Mughal-e-Azam'' was physically taxing for Madhubala from the beginning. In one notable incident, she reportedly came close to suffocation while encased in heavy body paint to portray a [[marble]] statue.{{sfn|Akbar|2011|p=129}} Later, she committed to rigorous training under [[Kathak]] master [[Lachhu Maharaj]] for the "[[Mohe Panghat Pe Nandlal Chhed Gayo Re]]" musical sequence, despite being medically advised against dancing.{{sfn|Pandhye|2020|p=155}}{{sfn|Akbar|2011|p=147}} Notwithstanding these physical hardships, Madhubala remained dedicated to the production; she would continue filming ''Mughal-e-Azam'' intermittently over the next seven years while simultaneously working on other film projects.{{sfn|Akbar|2011|p=128}}
Following Madhubala's break-up with Kumar, filming for ''Mughal-e-Azam'' was briefly suspended before resuming on the condition that it would be their final collaboration. The personal friction between the leads occasionally affected the production; notably, during a scene where Kumar's character was required to slap Anarkali, he reportedly struck Madhubala with actual force repeatedly. Despite the incident, Madhubala continued with the take and resumed filming after mediation by director K. Asif. The actors completed their remaining romantic sequences despite being no longer on speaking terms. Following Madhubala's break-up with Kumar, filming for ''Mughal-e-Azam'' was briefly suspended before resuming on the condition that it would be their final collaboration.{{sfn|Pandhye|2020|pp=155–156}} The personal friction between the leads occasionally affected the production; notably, during a scene where Kumar's character was required to slap Anarkali, he reportedly struck Madhubala with actual force repeatedly. Despite the incident, Madhubala continued with the take and resumed filming after mediation by director K. Asif.{{sfn|Pandhye|2020|pp=156–157}} The actors completed their remaining romantic sequences despite being no longer on speaking terms.
''Mughal-e-Azam'' and [[Om Prakash]]'s ''[[Gateway of India (film)|Gateway of India]]'' (1957) were the only two productions where Madhubala participated in late-night filming sessions, a practice Khan typically discouraged. By 1957, the majority of ''Mughal-e-Azam''<nowiki/>'s principal photography was complete. The remaining segments, which included the "[[Pyar Kiya To Darna Kya]]" musical number and the sequences involving Anarkali's imprisonment, were scheduled for a later filming phase. ''Mughal-e-Azam'' and [[Om Prakash]]'s ''[[Gateway of India (film)|Gateway of India]]'' (1957) were the only two productions where Madhubala participated in late-night filming sessions, a practice Khan typically discouraged. By 1957, the majority of ''Mughal-e-Azam'''s principal photography was complete. The remaining segments, which included the "[[Pyar Kiya To Darna Kya]]" musical number and the sequences involving Anarkali's imprisonment, were scheduled for a later filming phase.{{sfn|Pandhye|2020|p=158}}
During the extended production of ''Mughal-e-Azam'' through 1958 and 1959, Madhubala's health significantly declined. For the sequences depicting her character's imprisonment, she insisted on utilizing authentic iron chains. The weight of these chains resulted in [[Abrasion (medicine)|skin abrasions]] and necessitated intervals of bed rest. Commenting on the filming conditions, contemporary [[Sitara Devi]] stated: "The chains, the continuous night shootings … killed her." During the extended production of ''Mughal-e-Azam'' through 1958 and 1959, Madhubala's health significantly declined. For the sequences depicting her character's imprisonment, she insisted on utilizing authentic iron chains. The weight of these chains resulted in [[Abrasion (medicine)|skin abrasions]] and necessitated intervals of bed rest. Commenting on the filming conditions, contemporary [[Sitara Devi]] stated: "The chains, the continuous night shootings … killed her."
The musical sequence "Pyar Kiya To Darna Kya," filmed in [[Eastmancolor]], required complex choreography that Madhubala was medically advised to avoid due to her heart condition. To complete the scene, the production utilized professional dancer Laxmi Narayan as a body double for the long shots and wide-angle footwork. Narayan performed the choreography wearing a mask to resemble Madhubala filmed only for the close-up shots and facial expressions. Principal photography for ''Mughal-e-Azam'' eventually concluded in May 1959, by which time Madhubala was physically and mentally exhausted. The musical sequence "Pyar Kiya To Darna Kya," filmed in [[Eastmancolor]], required complex choreography that Madhubala was medically advised to avoid due to her heart condition. To complete the scene, the production utilized professional dancer Laxmi Narayan as a body double for the long shots and wide-angle footwork. Narayan performed the choreography wearing a mask to resemble Madhubala filmed only for the close-up shots and facial expressions.{{sfn|Pandhye|2020|pp=163–164}} Principal photography for ''Mughal-e-Azam'' eventually concluded in May 1959,{{sfn|Pandhye|2020|p=164}} by which time Madhubala was physically and mentally exhausted.
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Following Madhubala's break-up with Kumar, filming for ''Mughal-e-Azam'' was briefly suspended before resuming on the condition that it would be their final collaboration. The personal friction between the leads occasionally affected the production; notably, during a scene where Kumar's character was required to slap Anarkali, he reportedly struck Madhubala with actual force repeatedly. Despite the incident, Madhubala continued with the take and resumed filming after mediation by director K. Asif. The actors completed their remaining romantic sequences despite being no longer on speaking terms. Following Madhubala's break-up with Kumar, filming for ''Mughal-e-Azam'' was briefly suspended before resuming on the condition that it would be their final collaboration.{{sfn|Pandhye|2020|pp=155–156}} The personal friction between the leads occasionally affected the production; notably, during a scene where Kumar's character was required to slap Anarkali, he reportedly struck Madhubala with actual force repeatedly. Despite the incident, Madhubala continued with the take and resumed filming after mediation by director K. Asif.{{sfn|Pandhye|2020|pp=156–157}} The actors completed their remaining romantic sequences despite being no longer on speaking terms.
''Mughal-e-Azam'' and [[Om Prakash]]'s ''[[Gateway of India (film)|Gateway of India]]'' (1957) were the only two productions where Madhubala participated in late-night filming sessions, a practice Khan typically discouraged. By 1957, the majority of ''Mughal-e-Azam''<nowiki/>'s principal photography was complete. The remaining segments, which included the "[[Pyar Kiya To Darna Kya]]" musical number and the sequences involving Anarkali's imprisonment, were scheduled for a later filming phase. ''Mughal-e-Azam'' and [[Om Prakash]]'s ''[[Gateway of India (film)|Gateway of India]]'' (1957) were the only two productions where Madhubala participated in late-night filming sessions, a practice Khan typically discouraged. By 1957, the majority of ''Mughal-e-Azam'''s principal photography was complete. The remaining segments, which included the "[[Pyar Kiya To Darna Kya]]" musical number and the sequences involving Anarkali's imprisonment, were scheduled for a later filming phase.{{sfn|Pandhye|2020|p=158}}
During the extended production of ''Mughal-e-Azam'' through 1958 and 1959, Madhubala's health significantly declined. For the sequences depicting her character's imprisonment, she insisted on utilizing authentic iron chains. The weight of these chains resulted in [[Abrasion (medicine)|skin abrasions]] and necessitated intervals of bed rest. Commenting on the filming conditions, contemporary [[Sitara Devi]] stated: "The chains, the continuous night shootings … killed her." During the extended production of ''Mughal-e-Azam'' through 1958 and 1959, Madhubala's health significantly declined. For the sequences depicting her character's imprisonment, she insisted on utilizing authentic iron chains. The weight of these chains resulted in [[Abrasion (medicine)|skin abrasions]] and necessitated intervals of bed rest. Commenting on the filming conditions, contemporary [[Sitara Devi]] stated: "The chains, the continuous night shootings … killed her."
The musical sequence "Pyar Kiya To Darna Kya," filmed in [[Eastmancolor]], required complex choreography that Madhubala was medically advised to avoid due to her heart condition. To complete the scene, the production utilized professional dancer Laxmi Narayan as a body double for the long shots and wide-angle footwork. Narayan performed the choreography wearing a mask to resemble Madhubala filmed only for the close-up shots and facial expressions. Principal photography for ''Mughal-e-Azam'' eventually concluded in May 1959, by which time Madhubala was physically and mentally exhausted. The musical sequence "Pyar Kiya To Darna Kya," filmed in [[Eastmancolor]], required complex choreography that Madhubala was medically advised to avoid due to her heart condition. To complete the scene, the production utilized professional dancer Laxmi Narayan as a body double for the long shots and wide-angle footwork. Narayan performed the choreography wearing a mask to resemble Madhubala filmed only for the close-up shots and facial expressions.{{sfn|Pandhye|2020|pp=163–164}} Principal photography for ''Mughal-e-Azam'' eventually concluded in May 1959,{{sfn|Pandhye|2020|p=164}} by which time Madhubala was physically and mentally exhausted.
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