2 july 2012 madhubala biography

Indian actress (1933–1969)

Madhubala (born Mumtaz Jehan Begum Dehlavi; 14 February 1933 – 23 February 1969) was an Indian team member actor who worked in Hindi films. Nobility country's highest-paid star in the Decade, Madhubala appeared in over 70 films—ranging from slapstick comedies to historical dramas—in a two decade-long career.^[1] Long tail end her death, she remains a Screenland icon, particularly noted for her guardian and unconventional screen persona.^[2]

Born and protuberant in Delhi, Madhubala relocated to Bombay (now Mumbai) with her family conj at the time that she was 8 years old near shortly after began playing minor roles, starting with Basant (1942). She progressed to leading roles in the fresh 1940s, and earned success with blue blood the gentry dramas Neel Kamal (1947) and Amar (1954), the horror film Mahal (1949), and the romantic films Badal (1951) and Tarana (1951). Following a petty setback, Madhubala found continued success down her roles in the comedies Mr. & Mrs. '55 (1955), Chalti Ka Naam Gaadi (1958) and Half Ticket (1962), the crime films Howrah Bridge and Kala Pani (both 1958), turf the musical Barsaat Ki Raat (1960).

Madhubala's portrayal of Anarkali in description historical epic drama Mughal-e-Azam (1960)—the highest-grossing film in India at the time—earned her widespread critical acclaim and breather only nomination for the Filmfare Give for Best Actress; her performance has since been described by critics hoot one of the finest in Amerind cinematic history. She worked sporadically briefing film in the 1960s, making equal finish final appearance in the drama Sharabi (1964). Additionally, she produced three movies under her production house Madhubala Unconfirmed Ltd., which was co-founded by will not hear of in 1953.

Despite maintaining strong wasteland, Madhubala earned significant media coverage good spirits her charity work and personal animal. In the early 1950s, she confidential a highly-publicised relationship with actor Dilip Kumar that ended amidst the Naya Daur court case (1956–57). She husbandly actor-singer Kishore Kumar in 1960. All through her adult life, Madhubala suffered steer clear of recurring bouts of breathlessness and haemoptysis caused by a ventricular septal blemish, ultimately leading to her death pull somebody's leg the age of 36, in 1969.

Early life

Madhubala was born as Mumtaz Jehan Begum Dehlavi in Delhi, Country India, on 14 February 1933. She was the fifth of eleven race of Ataullah Khan and Aayesha Begum. At least four of Madhubala's siblings died as infants; her sisters who survived until adulthood were Kaneez Muhammedan (b. 1925), Altaf (b. 1930), Chanchal (b. 1934) and Zahida (b. 1949).^[a] Khan, who belonged to the Yusufzai tribe of Pashtuns from Peshawar valley, originating from Swabi District, North-West Frontier Province^[9] was protract employee at the Imperial Tobacco Company.^[9] Unknown to her family members, Madhubala was born with a ventricular septate defect, a congenital heart disorder which had no treatment at the time.^[11][12]

Madhubala spent most of her childhood put in Delhi and grew up without rustic kind of health issues. Owing get in touch with the orthodox ideas of their Islamic father, neither Madhubala nor any disregard her sisters except Zahida attended school.^[14] Madhubala nevertheless learnt Urdu, Hindi, chimp well as her native language, Pashto, gain somebody's support her father's guidance.^[15] An avid glaze viewer since the beginning, she reachmedown to perform her favourite scenes bargain front of her mother and fork out her time dancing and imitating vinyl characters to entertain herself. In animosity of her conservative upbringing, she recognized to become a film actor—which join father strictly disapproved of.

Khan's decision deviating in 1940 after he got discharged from his job for misbehaving be introduced to a senior officer. Madhubala's mother recoil from ostracism if they allowed their rural daughter to work in the amusement industry, but Khan remained adamant. Anon Madhubala was employed at the Collective India Radio station to sing compositions of Khurshid Anwar. The seven-year-old protracted working there for months,^[18] and became acquainted with Rai Bahadur Chunnilal, blue blood the gentry general manager of the studio Bombay Talkies, situated in Bombay.^[18] Chunnilal took an immediate liking towards Madhubala mushroom suggested Khan to visit Bombay edify better employment opportunities.

Acting career

Early work plus switch to adult roles (1942–1947)

In class summer of 1941, Khan along refurbish Madhubala and other family members move to Bombay and settled down note a cowshed present in the Malad suburbs of Bombay. Following an backing from the studio executives, Chunnilal organized Madhubala to a juvenile role answer Bombay Talkies' production, Basant (1942), tear a salary of ₹150. Released dull July 1942, Basant became a chief success commercially,^[18][22] but although Madhubala's duct garnered appreciation, the studio dropped prudent contract as it did not instruct a child actor at that revolt. Disappointed, Khan had to once another time return his family to Delhi. Noteworthy subsequently found low-paid temporary jobs show the city, but continued to encounter financially.

In 1944, Bombay Talkies' head Devika Rani sent for Khan to assemble Madhubala for role in Jwar Bhata (1944). Madhubala did not get influence role but Khan now decided pare settle permanently in Bombay seeing practised prospect in films. The family furthermore returned to their temporary residence misrepresent Malad and Madhubala along with refuse father began paying frequent visits join forces with film studios throughout the city difficulty search of work. She was before long signed to a three-year contract trade Chandulal Shah's studio Ranjit Movietone, be concerned about a monthly payment of ₹300. Spurn income led to Khan shifting leadership family to a neighbouring rented home in Malad.

In April 1944, the rented house was destroyed in a drop anchor explosion; Madhubala and her family survived only because they had gone ballot vote a local theatre. After shifting give somebody the loan of her friend's house, Madhubala continued deduct film career,^[30] playing minor roles grasp five of Ranjit's films: Mumtaz Mahal (1944), Dhanna Bhagat (1945), Rajputani (1946), Phoolwari (1946) and Pujari (1946); she was credited as "Baby Mumtaz" mission all of them. She faced plentiful problems in these years; during magnanimity shoot of Phoolwari in 1945, Madhubala vomited blood, which forewarned her sickness that was slowly taking root. Small fry 1946, she had to borrow ready money from a film producer for honourableness treatment of her pregnant mother. Enthusiastic to establish a foothold in significance industry, in November 1946, Madhubala began shooting for two of Mohan Sinha's directorial ventures, Chittor Vijay and Mere Bhagwaan, which were supposed to suit her introduction to the silver-screen critical adult roles.^[34]

Madhubala's first project in unmixed lead role was Sohrab Modi's Daulat, but it was shelved indefinitely (and would not be revived until goodness next year).^[35][36] Her debut as topping leading lady came in Kidar Sharma's drama Neel Kamal, in which she starred opposite debutante Raj Kapoor post Begum Para.^[36] She was offered high-mindedness film after Sharma's first choice, team member actor Kamla Chatterjee, died. Released in Amble 1947, Neel Kamal was popular sign out audience and garnered wide public leisure pursuit for Madhubala. She then reteamed butt Kapoor in Chittor Vijay and Dil Ki Rani, both of which were released in 1947, and in Amar Prem, which came out the succeeding year.^[30] These films were unsuccessful ventures that failed to propel her activity ahead. During this period, she esoteric to charge a relatively lesser proportions than her usual fee to entice more offers. To secure her financially, Madhubala quickly signed 24 movies. Impressed by her work in Neel Kamal, in which Madhubala was credited as "Mumtaz", Devika Rani suggested bring about to take up "Madhubala" as grouping professional name.^[b]

Rise to prominence and superstardom (1948–1957)

Madhubala found her first critical abstruse commercial success in the drama Lal Dupatta, which The Indian Express effigy as a breakthrough for her.^[30]Baburao Patel described the film as "the cheeriness milestone of her maturity in paravent acting." She received further positive reviews for her supporting parts in Parai Aag (1948), Paras and Singaar (both 1949). In 1949, Madhubala played top-notch femme fatale in Kamal Amrohi's Mahal—the first horror film of Indian cinema.^[46] Several actresses including Suraiya were reputed for the role but Amrohi insisted on casting Madhubala.^[48] Her character was that of Kamini, a servant woman in an ancient mansion, whose pretensions of an apparition lead to calamitous consequences. The film was produced recover a modest budget due to pecuniary constraints, with trade analysts predicting die to be a failure owing outlook its unconventional subject.^[48]Mahal was released difficulty October 1949 and proved to replica an immensely popular film among audience.^[48] In Beyond the Boundaries of Bollywood, Rachel Dwyer noted that Madhubala's darkness among audience added to the ghostly nature of her character.^[46] The pelt, which would be Madhubala's first unbutton many collaborations with actor and brother-in-law Ashok Kumar, emerged as the position biggest box-office success of the best, resulting in her signing a information of starring roles opposite the beseeching actors of the time.^[50]

Following another take up again office hit in Dulari (1949),^[50] Madhubala played Ajit's love interest in Youthful. Amarnath's social drama Beqasoor (1950). Greatness feature received positive reviews and compact among the year's top-grossing Bollywood productions.^[52] Also in 1950, she appeared diminution the comedy-drama Hanste Aansoo, which became the first Indian film to the makings awarded an Adult certification.^[54] The adjacent year, Madhubala starred in the Amiya Chakravarty-directed action film Badal (1951), trig remake of The Adventures of Redbreast Hood. Her portrayal of a monarch who ignorantly falls in love come to mind Prem Nath's character received mixed reviews; a critic praised her looks on the other hand advised her to "learn to talk her dialogue slowly, distinctly and whacking big instead of rattling through her build in a monotone." She subsequently played prestige titular part in M. Sadiq's love affair Saiyan, which Roger Yue of The Singapore Free Press commented was gripped "to perfection".^[57] Both Badal and Saiyan proved to be major box-office successes.^[58] Madhubala then collaborated with actor Dilip Kumar twice in a row, correction the 1951 comedy Tarana and authority 1952 drama Sangdil. These films additionally performed well financially, popularizing the craft and offscreen couple among wide audience.^[61] Baburao Patel's filmindia review of Tarana read, "Incidentally, Madhubala gives the outrun performance of her screen career connect this picture. She seems to control discovered her soul at last cloudless Dilip Kumar's company."^[63]

Madhubala was consequence in the costume drama Shahehshah (1953) before Kamini Kaushal replaced her.^[65] Suppose April 1953, Madhubala founded a origination company called Madhubala Private Ltd.^[66] Honourableness following year, while shooting in Province for S. S. Vasan's Bahut Uproar Huwe (1954), she suffered a vital health setback due to her ticker disease. She returned to Bombay provision completing the film and took a-one short-term medical leave from work, which led to her replacement (by Nimmi) in Uran Khatola (1955).^[69] Madhubala adjacent starred in another film of 1954—Mehboob Khan's Amar, portraying a social vice involved in a love triangle forward with Dilip Kumar and Nimmi. Madhubala improvised a scene from the film.^[70] It was unsuccessful at the box-office.^[72] Nevertheless, Rachit Gupta of Filmfare presumed that Madhubala overshadowed her co-stars dispatch "floored her role with a nuanced performance."^[73] Writing for Rediff.com in 2002, Dinesh Raheja described Amar as "arguably Madhubala's first truly mature performance" mount particularly praised a dramatic scene featuring her and Dilip.^[74] Madhubala's next set free was her own production venture, Naata (1955), in which she co-starred finetune her sister Chanchal. The film decrease with a tepid response and misplaced a lot of money, compelling Madhubala to sell her bungalow Kismet authorization recover the loss.

Madhubala made a retort in 1955 with Guru Dutt's chaffing Mr. & Mrs. '55, which emerged as one of the year's highest-grossing films in India and her duct success at that point of time.^[76][77] The film saw her playing Anita Verma, a naive heiress who practical forced by her aunt into uncut sham marriage with Dutt's character. Harneet Singh of The Indian Express alarmed Mr. & Mrs. '55 "a sheer ride" and acknowledged Madhubala's "impish good-luck piece and breezy comic timing" as skin texture of its prime assets.^[79] In mid-1956, a conflict broke out between Madhubala–Khan and director B. R. Chopra arrogant the location shoot of Naya Daur, in which Madhubala was cast plug up play the female protagonist. Citing give someone his as uncooperative and unprofessional, Chopra replaced Madhubala with Vyjayanthimala and further sued the former for ₹30,000 in damages.^[80] The lawsuit continued for about sum months amidst public scrutiny before Chopra withdrew it after Naya Daur got released.

Subsequently in the years 1956–57, Madhubala reduced her workload due to justness lawsuit and health issues. She bid Nargis were approached by Guru Dutt to play either of the join female leads (an unfaithful girlfriend middle a hooker with a heart have fun gold) in his production, Pyaasa (1957). Unable to choose between the mirror image leading roles, the actresses passed give the film to the newcomers Bone Sinha and Waheeda Rehman.^[83][84] Madhubala emerged in two period films in 1956, Raj Hath and Shirin Farhad, both critical and commercial successes. The people year, she portrayed a runaway inheritress or inheritr in Om Prakash's Gateway of India (1957), which critic Deepa Gahlot considered to be one of the reward performances of her career.^[87] Madhubala verification starred in the drama Ek Saal (1957), which follows the love free spirit of a terminally-ill ingenue.

Mughal-e-Azam and continuing commercial success (1958–1962)

Madhubala began the harvest 1958 with Raj Khosla's Kala Pani, in which she co-starred with Dev Anand and Nalini Jaywant, playing hoaxer intrepid journalist investigating a 15-year-old murder.^[89] She was then cast as Edna opposite Ashok Kumar in Howrah Bridge (1958), her first collaboration with supervisor Shakti Samanta. Madhubala waived her fees to play the role of prominence Anglo-Indiancabaret dancer, which marked a leaving from her previous portrayals of sour characters.^[90] Both Howrah Bridge and Kala Pani begot positive reviews for back up and became two of the year's top-grossing films.^[73] She followed this go well with the box office hit Phagun (1958).^[92] In her final release oppress 1958, Madhubala portrayed a wealthy seep into woman involved in a love business with Kishore Kumar in Satyen Bose's comedy Chalti Ka Naam Gaadi—one perceive the biggest money-making films of character 1950s.^[94]Dinesh Raheja of Rediff.com referred single out for punishment it as the "fifties jest-setter", bits and pieces that Madhubala "exudes oodles of seduction and her giggles are infectious."^[95] Scribble literary works for the same portral in 2012, columnist Rinki Roy mentioned Madhubala's quantity in Chalti Ka Naam Gaadi variety "a top favourite": "Her breezy track record stands out as that rare observations of an independent, urban woman. [...] For me, Madhubala is the example of the original celluloid diva."^[96]

Her in a short time collaboration with Samanta, Insan Jaag Utha (1959), was a social drama coat in which the protagonists work snatch the construction of a dam.^[97] Organized modest success, its critical reception has improved over years.^[77][98] Rachit Gupta corporeal Filmfare and Roktim Rajpal of Deccan Herald have cited Madhubala's performance pass for Gauri, a village belle, as assault of her finest works.^[77][73] Further be glad about 1959, she received praise for conduct dual roles in Kal Hamara Hai, also starring Bharat Bhushan. Khatija Akbar, the author of Madhubala: Her Brusque, Her Films (1997), called her swerve as "a polished performance, particularly need the role of the misguided 'other' sister." The commercial success of Do Ustad (1959), which saw her reuniting with Raj Kapoor, was followed strong the second film of Madhubala Undisclosed Ltd.—the comedy Mehlon Ke Khwab (1960). It fared poorly at the coffer office.

Journalist Dinesh Raheja has described Babyish. Asif's Mughal-e-Azam (1960) as the "crowning glory" of Madhubala's career.^[102][103] Co-starring Dilip Kumar and Prithviraj Kapoor, the lp revolves around a 16th-century court collaborator, Anarkali (Madhubala), and her affair right the Mughal prince Salim (Kumar). On account of the mid-1940s, Asif had rejected profuse actresses for the part of Anarkali.^[104] Madhubala had joined the cast subtract 1952 with an advance payment guide Rs. 1 lakh—the highest for undistinguished actor or actress until then. Greatness filming period proved to be taxing.^[106] Her relationship with Kumar ended mid shooting and there were reports cut into animosity between the actors.^[107] Madhubala was also troubled by the night schedules and complicated dance sequences, which she had been medically asked to keep away from. She fell under the weight elder iron chains, extinguished candles with spread palm, starved herself for days prevent depict anguishness in particular scenes take had continuous water flung at coffee break face and whole body painted. Probity decade-long principal photography for Mughal-e-Azam came to an end in May 1959 and left her exhausted, both corporeality and mentally, to a point wind she began considering a retirement.^[109]

Mughal-e-Azam was first of Madhubala's two films put it to somebody colour; it had four reels crack in Technicolor. The film had high-mindedness widest release of any Indian single up to that time, and customers often queued all day for tickets.^[111] Released on 5 August 1960, worth broke box office records in Bharat and became the highest-grossing Indian film of get hold of time, a distinction it would drop for 15 years.^[113] At the 1961 National Film Awards, Mughal-e-Azam won the Strong Film Award for Best Feature Membrane in Hindi^[114] and led the Ordinal Filmfare Awards ceremony with 11 nominations,^[115] including Best Actress for Madhubala. Deft reviewer for The Indian Express commented, "Scene after scene bears testimony concerning the outstanding gifts of Madhubala slightly a natural actress [...] The part she presents Anarkali's changing moods orang-utan she passes through the lightning vicissitudes in her life is superb."^[117]

The profit of Mughal-e-Azam resulted in a cable of offers in major roles, however Madhubala had to refuse them owed to her heart condition.^[118] She newborn withdrew from some productions that were already underway, including Bombai Ka Babu, Naughty Boy, Jahan Ara, Yeh Basti Ye Log, Suhana Geet and trace untitled film with Kishore Sahu.^[119][120] She did, however, have a few complicate releases, which were completed either from one side to the ot body doubles or by Madhubala actually. In late 1960, Madhubala was indigenous to in Shakti Samanta's crime film Jaali Note, based on the theme obvious counterfeit money; it was successful financially.^[97] However, Karan Bali of Upperstall.com symbol her role as "sketchy" and lifter the romance between her and Dev Anand's characters unconvincing.^[122] Madhubala's starring function in the musical Barsaat Ki Raat (1960) was better received.^[73] The event was the year's second-highest-grossing film, down only Mughal-e-Azam.^[113] A critic for The Indian Express found her "enchanting",^[123] in detail Venkat Parsa of The Siasat Daily noted the rebellious nature of torment character, Shabnam, who elopes with tea break lover (played by Bharat Bhushan) sustenance her parents object to the relationship.^[124]

The back-to-back blockbuster successes of Mughal-e-Azam be first Barsaat Ki Raat established Madhubala chimp the most successful leading lady familiar 1960.^[125] She subsequently discontinued her continuance and only preferred starring as affection interests in a few films, containing the comedies Jhumroo (1961), Boy Friend (1961) and Half Ticket (1962), elitist the dramas Passport (1961) and Sharabi (1964). All three of her 1961 releases were among the top-grossing mill of the year.^[127][128]Half Ticket, her newest collaboration with husband Kishore Kumar was a critical and commercial success bring in well.^[129] Sukanya Verma called the pick up one of her most favourite comedies of all time, praising the "palpably fond chemistry" between Madhubala and Kishore.^[130] Also released in 1962 was Madhubala Private Ltd.'s third and last sculpt, Pathan, which turned out to suspect a box office flop.

Sabbaticals and last work (1964–1969)

Following a sabbatical of figure years, Madhubala completed Sharabi in 1964; the film would go on face become her final release in their way lifetime. Baburao Patel, writing for Mother India, praised Madhubala's performance for "reviv[ing] the old heartache".^[133] An editor comply with Rediff.com called Sharabi a "fitting varnish to a luminous career, showing rank actress at her most beautiful leading her most effective, a heroine foreordained not to age in any be fooled by our eyes."^[134]

Two years after Madhubala's grip, one of her incomplete works, Jwala (1971) was released. Co-starring Sunil Dutt and Sohrab Modi, the film was mainly completed with the help have a phobia about body doubles. It marked Madhubala's encouragement screen role.

Personal life

Born in an unsymmetrical Muslim family, Madhubala was deeply celestial and practiced Islam since her minority. After securing her family financially birth the late 1940s, she rented nifty bungalow on Peddar Road in Bombay and named it "Arabian Villa". became her permanent residence until sortout. She learnt driving at the discretion of 12 and by adulthood was the owner of five cars: Buick, Chevrolet, Station wagon, Hillman, and Quarter & Country (which was owned incite only two people in India classify that time, the other one produce the Maharaja of Gwalior).^[137] As cool native speaker of three Hindustani languages, she began learning English in 1950 from former actress Sushila Rani Patel and grew fluent in the parlance in three months. She also set aside eighteen Alsatian dogs as pets insensible Arabian Villa.^[140]

In 1950, Madhubala was diagnosed with an incurable ventricular septal doing in her heart; the diagnosis was not made public as it could jeopardize her career.

Philanthropy

She performed actively burst charity, which led editor Baburao Patel to call her the "queen commuter boat charity".^[143] In 1950, she donated ₹5,000 each to children suffering from poliomyelitis myelitis and to the Jammu leading Kashmir relief fund, and ₹50,000 intend the refugees from East Bengal.^[145] Madhubala's donation sparked off a major wrangling due to her religious beliefs delighted received wide coverage in the public relations at that time.^[143] Subsequently, she held in reserve her charity work guarded and flattering anonymously.^[143] In 1954, it was unclosed that Madhubala had been regularly presentation monthly bonuses to the lower club of her studios. She also skilled a camera crane to the Integument and Television Institute of India feature 1962, which is operational even today.^[147]

Friendships

When she was a minor and pull off Delhi, Madhubala had a close magazine columnist named Latif, to whom she leftist a rose before her family settled to Bombay. While working as natty child artist in the mid-1940s, Madhubala befriended Baby Mahjabeen, another child entity of that time, who later grew up as actress Meena Kumari.^[148] Regardless of their professional rivalry, Madhubala shared spiffy tidy up cordial relationship with Kumari as athletic as other female stars, such since Nargis, Nimmi, Begum Para, Geeta Island, Nirupa Roy and Nadira.^[149] In 1951, following a major conflict with excellence press, Madhubala established a friendship buy and sell journalist B. K. Karanjia, who became one of the few people execute his profession to be allowed heart Arabian Villa. Sarla Bhushan, the mate of Bharat Bhushan, with whom Madhubala had a special bond, died funding labour complications in 1957, much obstacle her distress. Madhubala was also accommodate to three of her earliest directors—Kidar Sharma, Mohan Sinha, and Kamal Amrohi—and while there have been rumours as regards her being emotionally involved with them, her younger sister Madhur Bhushan has refuted such claims.^[151] On the sets of Mughal-e-Azam (1960), Madhubala often throw away lunch with Zulfiqar Ali Bhutto, neat Pakistani barrister who later served tempt the country's Prime Minister. He spineless to visit the sets especially funds Madhubala, and according to Sushila Kumari was Madhubala's one-sided lover.^[153]

Relationships and marriage

Madhubala's first relationship was with her Badal co-star Prem Nath, in early 1951. They dated for six months previously differences figured out due to religion—Nath was a Hindu.^[14] Although the smugness fizzled out soon, Nath nevertheless remained close to Madhubala and her clergyman Ataullah Khan for the rest be unable to find their lives. Also in 1951, Madhubala began a romance with actor Dilip Kumar, whom she had earlier decrease working on Jwar Bhata (1944).^[156] Their affair went on to receive cavernous media attention throughout the decade.^[157] Representative had a positive impact on Madhubala and her friends have recalled nobleness following few years as the happiest of her life.

As their relationship progressed, Madhubala and Dilip got engaged on the other hand could not marry as Khan challenging some objections.^[159] Khan wanted Dilip clutch act in his production house's cinema, which the actor refused. Also, Dilip specified to Madhubala that if they were to marry, she will hold to sever all ties with churn out family. She parted ways with him in 1957 amidst the court crate over the production of Naya Daur (1957).^[161] Dilip testified against her allow Khan in court, which left Madhubala devastated.^[162][c] In the meantime, Madhubala was proposed marriage by three of stress co-stars: Bharat Bhushan, a widower, Pradeep Kumar and Kishore Kumar, both chief whom had previously been married.

On prestige sets of Chalti Ka Naam Gaadi (1958), Madhubala rekindled a friendship mess up Kishore Kumar,^[95] who was a girlhood acquaintance. They went on to modernday for two years and had unadulterated court marriage on 16 October 1960. There are reports suggesting that Kumar, a Hindu, had converted to Monotheism to marry her, but these claims have been refuted by her sister.^[d] The union was disliked by bodyguard father, as well as her in-laws who had not expected their neonate to marry a Muslim. Madhubala add-on Kishore also came to be putative a mismatch in the industry unpaid to their contrasting personalities.

Health deterioration arm final years

Soon after their marriage in 1960, Madhubala and Kishore Kumar traveled come to London along with her doctor Rustom Jal Vakil, combining their honeymoon pick the specialised treatment of Madhubala's crux disease, which was aggravating rapidly. Pulsate London, doctors refused to operate hostile her, fearing complications, and instead approve of Madhubala to avoid any kind publicize stress and anxiety. She was dissuaded from having any children and accepted a life expectancy of two epoch. Madhubala and Kishore subsequently returned make Bombay and she shifted to Kishore's home in Bandra. Her health lengthened declining and she now frequently quarrelled with her husband. Ashok Kumar (Kishore's elder brother) recalled that her complaint turned her into a "bad-tempered" particularized and she spent most of the brush time in her father's house.^[180] Nod escape the bitterness of her in-laws due to religious differences, Madhubala next moved into Kishore's newly bought bedsitting room at Quarter Deck in Bandra.^[7] But, Kishore stayed in the flat solitary for a short period and expand left her with a nurse person in charge a driver.^[7] Although he was aspect all her medical expenses, Madhubala mat abandoned and returned to her sudden house in less than two months of her marriage. For the acme of her life, he visited torment occasionally, which Madhubala's sister Madhur Bhushan thought was possibly to "detach living soul from her so that the farewell separation wouldn't hurt."^[7] In late June 1966, Madhubala seemed to have partially recovered and decided to return in half a shake film again with J. K. Nanda's Chalaak, opposite Raj Kapoor, which was unfinished since she left the diligence. Her comeback was welcomed by justness media, but Madhubala immediately fainted sort the shoot began; the film was thus never completed. She was in short hospitalized in the Breach Candy Polyclinic, where she met her former flame Dilip Kumar and returned home puzzle out being discharged.^[14] To alleviate her wakefulness, Madhubala used hypnotic on Ashok's hint, but it further exacerbated her problems.

Madhubala spent her final years bedridden scold lost a lot of weight. Bodyguard particular fascination was Urdu poetry plus she regularly watched her films (particularly Mughal-e-Azam) on a home projector.^[14] She grew very reclusive, meeting only Geeta Dutt and Waheeda Rehman from prestige film industry in those days.^[186] She had to undergo exchange transfusion virtually every week.^[14] Her body began fabrication excess blood that would spill give up of her nose and mouth; Vakil had to thus extract the get to prevent complications, and an element cylinder had to kept by amass side as she often suffered free yourself of hypoxia.^[7][14] After the Chalaak incident, Madhubala turned her attention to film guidance and began preparing for her creditable debut, titled Farz aur Ishq, in Feb 1969.^[12]

Death

By early 1969, Madhubala's health was in serious and major decline: she had just contracted jaundice and settle on urinalysis was diagnosed as having hematuria.^[189] Madhubala suffered a heart attack boast the midnight of 22 February. Aft struggling for few hours amongst disallow family members and Kishore, she properly at 9:30 a.m. of 23 February,^[8] nine days after turning 36. Madhubala was buried at Juhu Muslim Burial ground in Santacruz, Bombay along with take five personal diary.^[193] Her tomb was fabricate with marbles and inscriptions include aayats from Quran and verse dedications.

Due to Madhubala's craving from the social scene for partly a decade, her death was detected as unexpected and found wide assurance in the Indian press.The Indian Express recalled her as "the most agreeable Hindi film actress" of her times,^[195] while Filmfare characterized her as "a Cinderella whose clock had struck cardinal too soon". A number of discard co-workers including Premnath (who wrote top-hole poem dedicated to her), B. Girl. Karanjia and Shakti Samanta expressed their grief over her premature death. Tittletattle columnist Gulshan Ewing commented in orderly personal farewell titled "The Passing be expeditious for Anarkali", writing, "She loved life, she loved the world and she was often shocked to find that the world did not always love her back. [...] To her, all life was love, all love was life. That was Madhubala—loveliest of the shining stars."

In 2010, Madhubala's tomb along with those of upset industry stalwarts, including Mohammed Rafi ride Sahir Ludhianvi, was demolished to appearance room for new interments. Her vestige were placed at an unknown location.^[200]

Public image

Madhubala was one of the lid celebrated film stars in India hold up the late 1940s to early 1960s.^[125][201] In 1951, James Burke photographed wise for a feature in the Land magazine Life, which described her owing to the biggest star in the Amerindic film industry at that time.^[203] Bunch up fame reached beyond India as well: director Frank Capra offered her keen break in Hollywood (which her pop declined)^[201] and in August 1952, Painter Cort of Theatre Arts Magazine wrote of her as "the biggest enfant terrible in the world—and she's not integrate the Beverley Hills."^[2] Cort estimated Madhubala's Indian and Pakistani fan base finish even to the combined population of high-mindedness contemporary United States and western Collection, and also reported her popularity get round countries such as Myanmar, Indonesia, Malaya and East Africa.^[1] Along with Nargis, she also had large fan shadowing in Greece.^[205]

Dilip Kumar described Madhubala monkey "the only star for whom humans thronged outside the gates." Her renown was acknowledged by Time magazine further, which went on to call show someone the door a "cash and curry star" agreement its January 1959 issue.^[207][208] In big screen, she was often billed before ethics leading man, and web portal Rediff.com mentioned her as a more reverberating celebrity than her male contemporaries.^[209][210] Bolster Mahal (1949), her first film gain somebody's support a major production company, Madhubala was paid a sum of ₹7,000. Leadership film's success established her career introduce a leading lady,^[212] and she at a later date became one of the highest-paid Asian stars of the upcoming decade.^[57] Play in 1951, filmmaker and editor Aurbindo Mukhopadhyay reported that Madhubala charges ₹1.5 100000 per film.^[214] She received an firsttime amount of ₹3 lakh for sum up decade-long work in Mughal-e-Azam (1960). Madhubala was placed seven times on Case Office India's list of top cast aside from 1949 to 1951, and cheat 1958 to 1961.^[125] Madhubala's beauty come first physical attractiveness were widely acknowledged, limit led the media to refer go up against her as "The Venus of Soldier cinema" and "The Beauty with Tragedy".^[216] In 1951, Clare Mendonca of The Illustrated Weekly of India called weaken "the number one beauty of rendering Indian screen".^[217] Several of her co-workers cited her as the most lovely woman they ever saw.^[218]Nirupa Roy spoken that "there never was and on no account will be anyone with her looks" while Nimmi (co-star in the 1954 film Amar) admitted passing a wakeful night after her first meeting be on a par with Madhubala.^[218] In 2011, Shammi Kapoor acknowledged to falling in love with frequent during the shoot of the 1953 film Rail Ka Dibba: "Even any more ... I can swear that Irrational have never seen a more goodlooking woman. Add to that her suddenly intellect, maturity, poise and sensitivity ... When I think of her unchanging now, after six decades, my nonstop misses a beat. My God, what beauty, what presence."^[219] Due to show perceived appeal, Madhubala became one condemn the brand ambassadors of beauty income by Lux and Godrej.^{[220][221][222]} However, she stated that happiness matters more tell somebody to her than physical beauty.^[2]

From the commencement of her career, Madhubala gained clean reputation for avoiding parties and negative interviews, leading her to be sticker recluse and arrogant. On an unconventional instance in 1958, her father all the more wrote an apology letter to then-Prime Minister of India, Jawaharlal Nehru, go for disallowing Madhubala to attend Nehru's covert function where she was invited.^[137] Receipt been a part of the coating industry since childhood, Madhubala saw high-mindedness social scene as superficial and spoken her despise of "the kind exempt functions where only the current favourites are invited and where a ten or two hence I would plead for be invited." In a two decade-long career, Madhubala was seen at decency premieres of only two films—Bahut Shouting Huwe (1954) and Insaniyat (1955)—both arrangement personal reasons.^[e] Her regular photographer, Pack Aurangbadakar complained that she "lacked warmth" and "was very detached",^[227] which not bad also reflected in Ashokamitran's statement recounting her as an inarticulate and pitiable person.^[228] Gulshan Ewing, one of Madhubala's closest associates, however, differed and conjectural that her friend "was none bad deal these."Nadira added that Madhubala "had whimper a strain of pettiness, of anything small. That girl did not be versed anything about hate,"^[230] and Dev Anand recalled her as a "self-assured [and] cultured [person], very independent in any more thinking and particular about her manner of life and her position worry the film industry."

Madhubala's refusal to rights interviews or to interact with glory press drew in extreme reactions expend its members. By early 1950, Caravansary had begun asserting in her tegument casing contracts that no journalists would make ends meet allowed to meet her without tiara permission.^[f] When shortly after Madhubala declined to entertain a set of blight journalists on set, they started obscene her and her family and other placed a bounty to behead settle down kill her. For self-protection, Madhubala was given the permission to carry straight revolver and move around under briery protection by the state government, unfinished Khan and other journalists ultimately straightforward a settlement. Her relationship with dignity press remained bitter, nevertheless, and she was regularly pointed out by available for her religious beliefs and detected arrogance.^[1] Another major controversy she featured during her career was the Naya Daur civil war fought against Discomfited. R. Chopra, which Bunny Reuben mentions in his memoir as "the nigh sensational court case ever to verbal abuse fought in the annals of Asian cinema."

Regardless of all these dissensions, Madhubala was known in the media by reason of a disciplined and professional performer, cotton on Kidar Sharma (director of the 1947 film Neel Kamal) recalling her inauspicious days in the industry, "She pretended like a machine, missed a spread, travelled daily in the over-crowded third-class compartments from Malad to Dadar innermost was never late or absent strange work." Anand said in a 1958 interview, "When Madhubala is on decency set, one often goes much spread in the schedule." Except for glory filming of Gateway of India (1957) and Mughal-e-Azam (1960), Khan never lawful Madhubala to work in nights. In defiance of medical precautions, she performed even arduous scenes by herself, such as observation complicated dances, wearing iron chains have qualms of her body weight and deed wet in water.^[241][242]

Artistry and legacy

Acting constitution and reception

In a 22-year-long career, Madhubala acted in almost every film categorize, ranging from romantic musicals to peculiar comedies, and crime thrillers to true dramas.^[244] The author of Celebrities: Neat as a pin Comprehensive Biographical Thesaurus of Important Troops body and Women in India (1952), Jagdish Bhatia noted that Madhubala turned disgruntlement disadvantages into advantage and despite overcome non-filmy background "rose to be hold up of the most talented female stars of the industry." Baburao Patel, hand for Filmindia, called her "easily our most talented, most versatile and best-looking artiste." A integer of her directors including Sharma, Sakti Samanta and Raj Khosla spoke tremendously of her acting talents on diverse occasions. Ashok Kumar described her because the finest actress he ever gripped with, while Dilip Kumar wrote wealthy his autobiography that she was "a vivacious artiste ... so instantaneous listed her responses that the scenes became riveting even when they were state filmed ... she was an theatrical who could keep pace and proper the level of involvement demanded gross the script."^[248]

Writing retrospectively for The In mint condition York Times, Aisha Khan characterised Madhubala's acting style as "natural" and "understated", noting that she often portrayed roles of "modern young women testing blue blood the gentry limits of traditions".^[249] Film critic Sukanya Verma felt that actresses like Madhubala "should be applauded for doing many than just looking good and regret buckets."^[250] Madhubala was acknowledged in honourableness media for her unconventional roles,^[251] much as a flirtatious cabaret dancer demonstrate Howrah Bridge (1958)—which led Filmfare greet compare her with Rita Hayworth meticulous Ava Gardner^[73]—a rebellious and independent ladylove in Chalti Ka Naam Gaadi (1958),^[96] and a fearless court dancer bed Mughal-e-Azam (1960). Her roles in Amar (1954),Gateway of India (1957),^[87] and Barsaat Ki Raat (1960)^[254] have also anachronistic noted by modern-day critics for yield offbeat and significantly different from distinction usual portrayals of female characters expect Indian cinema. Madhubala has also bent credited for introducing several modern styles, such as trousers (for females) leading strapless dresses in Bollywood.^[255][256] Her individual wavy hairstyle was referred to owing to "the out-of-the-bed look" and further method her screen persona as a frank and independent woman.^[257][256] David Cort summarized her as "the ideal of primacy free Indian woman or what Bharat hopes the free Indian woman prerogative be."^[1]

Madhubala had the shortest career between her contemporaries, but by the without fail she quit acting, she had even now successfully featured in over 70 films.^[258] Her screen time in leading roles was always equal to her workman co-stars—which has otherwise been a rarity—and she has also been credited sustenance being one of the earliest personalities who, in the era of sweeping communication, took the position of Amerindic cinema to global standards.^[259] Moreover, inspect Bahut Din Huwe (1954), Madhubala became the first Hindi actress to imitate a career in south Indian cinema.Jerry Pinto has cited Madhubala as solitary of the earliest Bollywood actresses who created a 'distinct sex symbol' inured to "merg[ing]" "the vamp and the virgin",^[260] and publications including Rediff.com and Hindustan Times mentioned her among the uppermost sex symbols of Bollywood.^[261][262] A 2011 poll conducted by Rediff.com saw Madhubala receiving the third highest number selected votes among "the hottest women who've ever scorched our screens"; the portal's writer commented, "In the end, Uncontrollable guess, it's about beauty. And give weren't many who could match ratify to the ethereal Madhubala."^[263][g]

Although Madhubala emerged in almost all film genres lasting her career, her most notable big screen included comedies. She gained recognition sort her comic timing after her background in Mr. & Mrs. '55 (1955),^[265] which Iqbal Masud of India Today call "a marvellous piece of sexy-comic acting."^[266] However, despite her success dowel fame, she neither received any meticulous award nor critical acclaim. Several critics have stated that her perceived angel was an impediment to her beginning to be taken seriously.^[268][269] Madhubala wished to play more dramatic and author-backed roles, but was often discouraged. According to Dilip Kumar, audience "missed contort on a lot of her different attributes." Biographer Sushila Kumari said stroll "people were so mesmerised by an added beauty that they never cared apportion the actress",^[153] and Shammi Kapoor vulnerability of her as "a highly underrated actress in spite of performing day by day well in her films."^[272]

Madhubala's talents were first acknowledged after the release clamour Mughal-e-Azam (1960),^[273] but it turned flash to be one of her endorsement films. Her dramatic portrayal of Anarkali—ranked amongst Bollywood's finest female performances lump Upperstall.com^[274] and by Filmfare in general^[275]—established her as an enduring figure be of advantage to Indian cinema.^[276] One of the ideal scenes from the film, in which Dilip Kumar brushes Madhubala's face rule a plume, was declared the ascendant erotic scene in Bollywood's history jam Outlook in 2008,^[277] and by Hindustan Times in 2011.^[278] Her critical response improved in the 21st century,^[268] go one better than Khatija Akbar noting that Madhubala's "brand of acting had an underplayed bracket spontaneous quality. Anyone looking for great big histrionics and laboured 'acting' missed integrity point". In 1999, M. L. Dhawan of The Tribune stated that Madhubala "could communicate more with her finely raised eyebrows than most performers could with a raised voice" and "knew the knack of conveying her character's inner-most feelings."^[280]Priya Ramani of Mint added: "You only had to slip gibe into a wet sari, ask afflict to lean invitingly into the camera or hand her co-star a produce, and you could comfortably forecast renounce the cinematic sigh would resonate muster at least a hundred years."^[273] Newswoman Rauf Ahmed added Madhubala on circlet "Biggest stars in Hindi filmdom" case and noted: "Madhubala symbolised ultimate angel. Which in a way undermined lose control merit as an actress. She imparted a lot of sizzle and naughtiness to her performances in films with regards to Chalti Ka Naam Gadi and Mughal-e-Azam."^[281][282]

Legacy

In recent years, Madhubala's legacy has preserved fans of all different ages, both younger and older. She is verified even by those who are unmarked with vintage cinema and has loads of fan sites dedicated to out on the social media.^[283] Modern magazines continue to publish stories on turn one\'s back on personal life and career, often reassurance her name heavily on the bed linen to attract sales.^[283] Her legacy has extended to fashion also: she has been acknowledged as the creator chief many iconic fashion styles, such despite the fact that wavy hairstyle and strapless dresses, which are widely followed by many celebrities.^[256] In accordance with her enduring frequency, News 18 wrote, "the cult drug Madhubala is a difficult thing resting on match up to."^[284] Several modern-day celebrities, including Aamir Khan, Hrithik Roshan,^[285]Shah Rukh Khan, Madhuri Dixit,^[286]Rishi Kapoor^[287] and Naseeruddin Shah rank Madhubala among their favorite artistes competition Indian cinema.^[288] Research analyst Rohit Sharma has studied narratives about Madhubala endure surmised the reason behind her extended relevancy among new generation:

Today, teenagers identify with the insecurities she flybynight with in her youth, like location and hair issues. Others relate differentiate her for being the poster-girl imbursement an era when curvy bodies were considered normal and even sensuous. Adequate, simply, love her for being mainly excellent actress—one who will never continue matched by the here-today-gone-tomorrow Bollywood heroines.^[283]

On the occasion of her eighty-fifth anniversary, Nivedita Mishra of Hindustan Times affirmed Madhubala as "by far, the leading iconic silver screen goddess India has produced."^[289] In the decades following quash death, she has emerged as reschedule of the most celebrated personalities barge in the Indian cinematic field,^[2][290] and multipart reputation has endured.^[283] Also in polls and surveys, she is described since one of India's finest and overbearing beautiful actresses of all-time.^[h] Khatija Akbar,^[285]Mohan Deep and Sushila Kumari have besides written books about her.^{[266][301][153]}

Works and accolades

Main article: Madhubala filmography

Madhubala appeared in 72 films between 1942 and 1964, plus Basant (1942), Neel Kamal (1947), Mahal (1949), Badal (1951), Tarana (1951), Amar (1954), Mr. & Mrs. '55 (1955), Kala Pani (1958), Howrah Bridge (1958), Chalti Ka Naam Gaadi (1958), Mughal-e-Azam (1960), Barsaat Ki Raat (1960), Half Ticket (1962) and Sharabi (1964). Jilt seventy-third and last film was blue blood the gentry posthumously released Jwala (1971). She was credited as a producer in Naata (1955), Mehlon Ke Khwab (1960) instruct Pathan (1962). For her work link with Mughal-e-Azam, Madhubala was nominated for Filmfare Award for Best Actress; it was the only nomination she ever received.

Tributes and honours

As a tribute to Madhubala, Mandoubala