I saw the film when it was released at Parkash Talkies, Amritsar (was located opposite to the Railway Station) I have failrly good recollection of events then and following weeks, until the screening moved to 3rd - tier theater, located at out-skirts of the city.

A: FIRST RELEASE
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Only 2 songs were in color - Pyar Kiya to darna kya and Yeh Dil Ki Lagi Kam Kya Hogi (but not the preceeding song: Khida Nighehban Ho Tumhara)

The climax was in B & W, with a different ending (It was implied that Anarkali was put to death)

I have a hazy re-collection, that the Qawwali - Teri Mehfil Mein was also in color, but can not vouch it with 100% certainty

B: After about 10 or 15 weeks of Run, song: 'Khuda Nigehban Ho Tumara' was replaced with a color version plus the climax was re-shot in color. In this version, Akbar guides Anarkali and her mother to a tunnels - 'Jo Onhen Mughal Sultanat Ki Sarhadon Ke Paar Le Gayi' Anarkali walks like a zombie.

C: Near the tail-end of films run, 2 songs were added. They are:
- Ae Ishq Yeh Sab Duniya Wale and
- Hamen Kaash Tum Se Mohabbat Na Hoti
both in B&W

MY OBSERVATIONS (may or may not be accurate)
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Like most other films of that era, a large number of prints were sent to middle-eastern counties for local screening and un-official shipping to Pakistan. They prints were probably of all 3 versions

When Home Video Cassette came up, most of the releases in USA were made from prints which were collected in distributors in middle-east (The first video conversion and duplicating facility was set-up by Esquire Co. of Hong Kong in Santa Cruz Free Trade Zone - ie: Bombay Airport area. The products were for export only)

Many years later, when DVD sales picked up, then a complete version (around 22 reels) was released on DVD, wherein 3 songs and and the Climax are in color plus 2 add-on songs (para C:) were retained

Note on color film:
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Irrespective of where the film is being shot - ie: studio or on-location, the negatives, i.e.: the film which was shot, is processed right away, and then played (ofcourse, without the sound). The event is called: 'VIEW THE RUSHES' This is to ensure that the 'shot / shots' came out o.k. and there is no need to re-shoot them. The crew can move to next location / shot. In addition, one eliminates the risk of negative getting damaged by exposure to light.

From early 50's FilmCentre aka Film Centre had set up a lab to process color negatives. 2-3 years later, they got the ability to print negatives on color stock - initailly on Gevacolor and later Eastman Color stock. From mid-50s few films were released, wherein 1 or 2 songs were in color eg: SHIRIN FARHAD - the Asha's song, which was enacted by Ameeta The final print of high - profile films were made by Technicolor Lab in London (AAN, JHANAK JHANAK, Mother India, NAVRANG, MUGHAL-E-AZAM, GUNGA JUMNA and few others)

https://timesofindia.indiatimes.com/ent ... 361415.cms

As luck would have it, Sheeshmahal sequence became the star attraction during the pre-promotion meets. Not known to many, in the original screenplay, the Sheeshamahal sequence was immediately after interval (the first part would then end with Saleem slapping Anarkali post their split).

Asif realized that if the sheeshmahal sequence was shifted before the interval, audience will come out in the interval, completely mesmerized and will talk only of the colour sequence of sheeshmahal. And it was only such a huge positive word of mouth publicity that would generate business enough to recover Shapoorji's investment.

But such a big change also meant, a big creative compromise, something that a great film maker would loathe to do. However, sacrifices and trusts are what make partnerships last. This time, it was Asif's turn to sacrifice. The color Sheeshsmahal sequence was shifted before interval

Some interesting trivia about Mughal-E-Azam's intermission