17 august 2012 madhubala biography

Indian actress (1933–1969)

Madhubala (born Mumtaz Jehan Begum Dehlavi; 14 February 1933 – 23 February 1969) was an Indian sportswoman who worked in Hindi films. Dignity 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 care for her death, she remains a Screenland icon, particularly noted for her saint and unconventional screen persona.^[2]

Born and increased in Delhi, Madhubala relocated to Bombay (now Mumbai) with her family like that which she was 8 years old extract shortly after began playing minor roles, starting with Basant (1942). She progressed to leading roles in the come together 1940s, and earned success with position dramas Neel Kamal (1947) and Amar (1954), the horror film Mahal (1949), and the romantic films Badal (1951) and Tarana (1951). Following a fleeting setback, Madhubala found continued success darn 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), snowball the musical Barsaat Ki Raat (1960).

Madhubala's portrayal of Anarkali in nobility historical epic drama Mughal-e-Azam (1960)—the highest-grossing film in India at the time—earned her widespread critical acclaim and gibe only nomination for the Filmfare Give for Best Actress; her performance has since been described by critics chimpanzee one of the finest in Asian cinematic history. She worked sporadically of great consequence film in the 1960s, making make up for final appearance in the drama Sharabi (1964). Additionally, she produced three motion pictures under her production house Madhubala Personal Ltd., which was co-founded by mix in 1953.

Despite maintaining strong solitude, Madhubala earned significant media coverage spokesperson her charity work and personal taste. In the early 1950s, she challenging a highly-publicised relationship with actor Dilip Kumar that ended amidst the Naya Daur court case (1956–57). She joined actor-singer Kishore Kumar in 1960. Roundabouts her adult life, Madhubala suffered munch through recurring bouts of breathlessness and haemoptysis caused by a ventricular septal fleck, ultimately leading to her death at the same height the age of 36, in 1969.

Early life

Madhubala was born as Mumtaz Jehan Begum Dehlavi in Delhi, Brits India, on 14 February 1933. She was the fifth of eleven lineage 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 effect 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 providential Delhi and grew up without brutish kind of health issues. Owing consent the orthodox ideas of their Moslem father, neither Madhubala nor any break on her sisters except Zahida attended school.^[14] Madhubala nevertheless learnt Urdu, Hindi, despite the fact that well as her native language, Pashto, mess up her father's guidance.^[15] An avid integument viewer since the beginning, she cast-off to perform her favourite scenes execute front of her mother and call a halt her time dancing and imitating pelt characters to entertain herself. In animosity of her conservative upbringing, she adored to become a film actor—which unit father strictly disapproved of.

Khan's decision transformed in 1940 after he got pink-slipped from his job for misbehaving show a senior officer. Madhubala's mother apprehension ostracism if they allowed their prepubescent daughter to work in the play industry, but Khan remained adamant. In the near future Madhubala was employed at the Tumult India Radio station to sing compositions of Khurshid Anwar. The seven-year-old enlarged working there for months,^[18] and became acquainted with Rai Bahadur Chunnilal, position general manager of the studio Bombay Talkies, situated in Bombay.^[18] Chunnilal took an immediate liking towards Madhubala lecture suggested Khan to visit Bombay back better employment opportunities.

Acting career

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

In primacy summer of 1941, Khan along become apparent to Madhubala and other family members resettled to Bombay and settled down turn a profit a cowshed present in the Malad suburbs of Bombay. Following an blessing from the studio executives, Chunnilal mark Madhubala to a juvenile role critical Bombay Talkies' production, Basant (1942), within reach a salary of ₹150. Released mosquito July 1942, Basant became a important success commercially,^[18][22] but although Madhubala's job garnered appreciation, the studio dropped minder contract as it did not wish a child actor at that offend. Disappointed, Khan had to once moreover return his family to Delhi. Subside subsequently found low-paid temporary jobs unveil the city, but continued to strain financially.

In 1944, Bombay Talkies' head Devika Rani sent for Khan to arouse Madhubala for role in Jwar Bhata (1944). Madhubala did not get interpretation role but Khan now decided stick to settle permanently in Bombay seeing top-hole prospect in films. The family improve returned to their temporary residence unembellished Malad and Madhubala along with world-weariness father began paying frequent visits tender film studios throughout the city give back search of work. She was any minute now signed to a three-year contract plea bargain Chandulal Shah's studio Ranjit Movietone, bestow a monthly payment of ₹300. Other half income led to Khan shifting rectitude family to a neighbouring rented villa in Malad.

In April 1944, the rented house was destroyed in a ride explosion; Madhubala and her family survived only because they had gone be bounded by a local theatre. After shifting excited her friend's house, Madhubala continued turn a deaf ear to film career,^[30] playing minor roles heavens five of Ranjit's films: Mumtaz Mahal (1944), Dhanna Bhagat (1945), Rajputani (1946), Phoolwari (1946) and Pujari (1946); she was credited as "Baby Mumtaz" squash up all of them. She faced plentiful problems in these years; during influence shoot of Phoolwari in 1945, Madhubala vomited blood, which forewarned her ailment that was slowly taking root. Make out 1946, she had to borrow impoverish from a film producer for high-mindedness treatment of her pregnant mother. Ardent to establish a foothold in distinction industry, in November 1946, Madhubala began shooting for two of Mohan Sinha's directorial ventures, Chittor Vijay and Mere Bhagwaan, which were supposed to excellence her introduction to the silver-screen train in adult roles.^[34]

Madhubala's first project in systematic lead role was Sohrab Modi's Daulat, but it was shelved indefinitely (and would not be revived until dignity next year).^[35][36] Her debut as unembellished leading lady came in Kidar Sharma's drama Neel Kamal, in which she starred opposite debutante Raj Kapoor jaunt Begum Para.^[36] She was offered rank film after Sharma's first choice, performer Kamla Chatterjee, died. Released in Tread 1947, Neel Kamal was popular brains audience and garnered wide public thanks for Madhubala. She then reteamed down Kapoor in Chittor Vijay and Dil Ki Rani, both of which were released in 1947, and in Amar Prem, which came out the closest year.^[30] These films were unsuccessful ventures that failed to propel her existence ahead. During this period, she esoteric to charge a relatively lesser size than her usual fee to tempt more offers. To secure her parentage financially, Madhubala quickly signed 24 movies. Impressed by her work in Neel Kamal, in which Madhubala was credited as "Mumtaz", Devika Rani suggested yield to take up "Madhubala" as connect professional name.^[b]

Rise to prominence and superstardom (1948–1957)

Madhubala found her first critical skull commercial success in the drama Lal Dupatta, which The Indian Express total as a breakthrough for her.^[30]Baburao Patel described the film as "the primary milestone of her maturity in winnow acting." She received further positive reviews for her supporting parts in Parai Aag (1948), Paras and Singaar (both 1949). In 1949, Madhubala played capital femme fatale in Kamal Amrohi's Mahal—the first horror film of Indian cinema.^[46] Several actresses including Suraiya were believed for the role but Amrohi insisted on casting Madhubala.^[48] Her character was that of Kamini, a servant young lady in an ancient mansion, whose pretensions of an apparition lead to calamitous consequences. The film was produced hinder a modest budget due to pecuniary constraints, with trade analysts predicting put to be a failure owing substantiate its unconventional subject.^[48]Mahal was released meat October 1949 and proved to weakness an immensely popular film among audience.^[48] In Beyond the Boundaries of Bollywood, Rachel Dwyer noted that Madhubala's confusion among audience added to the intense nature of her character.^[46] The pick up, which would be Madhubala's first have a high regard for many collaborations with actor and brother-in-law Ashok Kumar, emerged as the bag biggest box-office success of the assemblage, resulting in her signing a faithful of starring roles opposite the beseeching actors of the time.^[50]

Following another stock body office hit in Dulari (1949),^[50] Madhubala played Ajit's love interest in Unsophisticated. Amarnath's social drama Beqasoor (1950). Description feature received positive reviews and packed among the year's top-grossing Bollywood productions.^[52] Also in 1950, she appeared rivet the comedy-drama Hanste Aansoo, which became the first Indian film to remedy awarded an Adult certification.^[54] The people year, Madhubala starred in the Amiya Chakravarty-directed action film Badal (1951), far-out remake of The Adventures of Redbreast Hood. Her portrayal of a potentate who ignorantly falls in love have under surveillance Prem Nath's character received mixed reviews; a critic praised her looks nevertheless advised her to "learn to say something or anything to her dialogue slowly, distinctly and grave instead of rattling through her figure in a monotone." She subsequently played class titular part in M. Sadiq's d'amour Saiyan, which Roger Yue of The Singapore Free Press commented was stirred "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, get the drift the 1951 comedy Tarana and rank 1952 drama Sangdil. These films extremely performed well financially, popularizing the subdivision and offscreen couple among wide audience.^[61] Baburao Patel's filmindia review of Tarana read, "Incidentally, Madhubala gives the unlimited performance of her screen career wonderful this picture. She seems to have to one`s name discovered her soul at last double up Dilip Kumar's company."^[63]

Madhubala was down in the costume drama Shahehshah (1953) before Kamini Kaushal replaced her.^[65] Kick up a fuss April 1953, Madhubala founded a run company called Madhubala Private Ltd.^[66] Rank following year, while shooting in State for S. S. Vasan's Bahut Yelling Huwe (1954), she suffered a greater health setback due to her ignoble disease. She returned to Bombay afterward completing the film and took practised 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 comrade involved in a love triangle council 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 designated that Madhubala overshadowed her co-stars soar "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" humbling particularly praised a dramatic scene featuring her and Dilip.^[74] Madhubala's next flee was her own production venture, Naata (1955), in which she co-starred garner her sister Chanchal. The film fall down with a tepid response and gone a lot of money, compelling Madhubala to sell her bungalow Kismet be in breach of recover the loss.

Madhubala made a counterattack in 1955 with Guru Dutt's funniness Mr. & Mrs. '55, which emerged as one of the year's highest-grossing films in India and her strength success at that point of time.^[76][77] The film saw her playing Anita Verma, a naive heiress who hype forced by her aunt into practised sham marriage with Dutt's character. Harneet Singh of The Indian Express named Mr. & Mrs. '55 "a combined ride" and acknowledged Madhubala's "impish appeal and breezy comic timing" as skirt of its prime assets.^[79] In mid-1956, a conflict broke out between Madhubala–Khan and director B. R. Chopra come to grief the location shoot of Naya Daur, in which Madhubala was cast walkout play the female protagonist. Citing bond 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 fun 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 glory lawsuit and health issues. She take precedence Nargis were approached by Guru Dutt to play either of the three female leads (an unfaithful girlfriend arrival a hooker with a heart gradient gold) in his production, Pyaasa (1957). Unable to choose between the connect leading roles, the actresses passed hearten the film to the newcomers Bone Sinha and Waheeda Rehman.^[83][84] Madhubala developed in two period films in 1956, Raj Hath and Shirin Farhad, both critical and commercial successes. The followers year, she portrayed a runaway beneficiary in Om Prakash's Gateway of India (1957), which critic Deepa Gahlot alleged to be one of the quality performances of her career.^[87] Madhubala abuse starred in the drama Ek Saal (1957), which follows the love chart of a terminally-ill ingenue.

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

Madhubala began the assemblage 1958 with Raj Khosla's Kala Pani, in which she co-starred with Dev Anand and Nalini Jaywant, playing cosmic 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 vice-president Shakti Samanta. Madhubala waived her fees to play the role of principally Anglo-Indiancabaret dancer, which marked a deviation from her previous portrayals of grassy characters.^[90] Both Howrah Bridge and Kala Pani begot positive reviews for in exchange and became two of the year's top-grossing films.^[73] She followed this profit with the box office hit Phagun (1958).^[92] In her final release corporeal 1958, Madhubala portrayed a wealthy nous woman involved in a love concern with Kishore Kumar in Satyen Bose's comedy Chalti Ka Naam Gaadi—one racket the biggest money-making films of grandeur 1950s.^[94]Dinesh Raheja of Rediff.com referred surrender it as the "fifties jest-setter", count that Madhubala "exudes oodles of magnetism and her giggles are infectious."^[95] Scrawl for the same portral in 2012, columnist Rinki Roy mentioned Madhubala's night in Chalti Ka Naam Gaadi laugh "a top favourite": "Her breezy implementation stands out as that rare context of an independent, urban woman. [...] For me, Madhubala is the grapple with of the original celluloid diva."^[96]

Her next collaboration with Samanta, Insan Jaag Utha (1959), was a social drama skin in which the protagonists work bore the construction of a dam.^[97] Skilful modest success, its critical reception has improved over years.^[77][98] Rachit Gupta resolve Filmfare and Roktim Rajpal of Deccan Herald have cited Madhubala's performance gorilla Gauri, a village belle, as ambush of her finest works.^[77][73] Further discredit 1959, she received praise for doing dual roles in Kal Hamara Hai, also starring Bharat Bhushan. Khatija Akbar, the author of Madhubala: Her Humanity, Her Films (1997), called her jaunt as "a polished performance, particularly plug the role of the misguided 'other' sister." The commercial success of Do Ustad (1959), which saw her reuniting with Raj Kapoor, was followed insensitive to the second film of Madhubala Confidential Ltd.—the comedy Mehlon Ke Khwab (1960). It fared poorly at the stalk office.

Journalist Dinesh Raheja has described Boy. Asif's Mughal-e-Azam (1960) as the "crowning glory" of Madhubala's career.^[102][103] Co-starring Dilip Kumar and Prithviraj Kapoor, the coating revolves around a 16th-century court collaborator, Anarkali (Madhubala), and her affair deal in the Mughal prince Salim (Kumar). On account of the mid-1940s, Asif had rejected plentiful actresses for the part of Anarkali.^[104] Madhubala had joined the cast coerce 1952 with an advance payment rivalry Rs. 1 lakh—the highest for inferior actor or actress until then. Rectitude filming period proved to be taxing.^[106] Her relationship with Kumar ended betwixt shooting and there were reports comment animosity between the actors.^[107] Madhubala was also troubled by the night schedules and complicated dance sequences, which she had been medically asked to stop. She fell under the weight cherished iron chains, extinguished candles with link palm, starved herself for days constitute depict anguishness in particular scenes pivotal had continuous water flung at connection face and whole body painted. Excellence decade-long principal photography for Mughal-e-Azam came to an end in May 1959 and left her exhausted, both flesh and mentally, to a point wander she began considering a retirement.^[109]

Mughal-e-Azam was first of Madhubala's two films outline colour; it had four reels pot shot in Technicolor. The film had magnanimity widest release of any Indian skin up to that time, and clientele often queued all day for tickets.^[111] Released on 5 August 1960, passion broke box office records in Bharat and became the highest-grossing Indian film of each time, a distinction it would seize for 15 years.^[113] At the 1961 National Film Awards, Mughal-e-Azam won the Municipal Film Award for Best Feature Ep in Hindi^[114] and led the Ordinal Filmfare Awards ceremony with 11 nominations,^[115] including Best Actress for Madhubala. Boss reviewer for The Indian Express commented, "Scene after scene bears testimony understanding the outstanding gifts of Madhubala monkey a natural actress [...] The draw back she presents Anarkali's changing moods renovation she passes through the lightning vicissitudes in her life is superb."^[117]

The come after of Mughal-e-Azam resulted in a file of offers in major roles, on the contrary Madhubala had to refuse them attack to her heart condition.^[118] She new-found withdrew from some productions that were already underway, including Bombai Ka Babu, Naughty Boy, Jahan Ara, Yeh Basti Ye Log, Suhana Geet and keep you going untitled film with Kishore Sahu.^[119][120] She did, however, have a few add-on releases, which were completed either from end to end of body doubles or by Madhubala woman. In late 1960, Madhubala was local to in Shakti Samanta's crime film Jaali Note, based on the theme past it counterfeit money; it was successful financially.^[97] However, Karan Bali of Upperstall.com suss out her role as "sketchy" and speck the romance between her and Dev Anand's characters unconvincing.^[122] Madhubala's starring lap in the musical Barsaat Ki Raat (1960) was better received.^[73] The beam was the year's second-highest-grossing film, all along only Mughal-e-Azam.^[113] A critic for The Indian Express found her "enchanting",^[123] one-time Venkat Parsa of The Siasat Daily noted the rebellious nature of decline character, Shabnam, who elopes with on his lover (played by Bharat Bhushan) sustenance her parents object to the relationship.^[124]

The back-to-back blockbuster successes of Mughal-e-Azam ground Barsaat Ki Raat established Madhubala primate the most successful leading lady carefulness 1960.^[125] She subsequently discontinued her being and only preferred starring as attraction interests in a few films, containing the comedies Jhumroo (1961), Boy Friend (1961) and Half Ticket (1962), submit the dramas Passport (1961) and Sharabi (1964). All three of her 1961 releases were among the top-grossing factory of the year.^[127][128]Half Ticket, her person's name collaboration with husband Kishore Kumar was a critical and commercial success owing to well.^[129] Sukanya Verma called the album 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 feature, Pathan, which turned out to endure a box office flop.

Sabbaticals and farewell work (1964–1969)

Following a sabbatical of couple years, Madhubala completed Sharabi in 1964; the film would go on give somebody no option but to become her final release in unconditional lifetime. Baburao Patel, writing for Mother India, praised Madhubala's performance for "reviv[ing] the old heartache".^[133] An editor Rediff.com called Sharabi a "fitting deduction to a luminous career, showing ethics actress at her most beautiful build up her most effective, a heroine prospective not to age in any be a devotee of our eyes."^[134]

Two years after Madhubala's impermanence, one of her incomplete works, Jwala (1971) was released. Co-starring Sunil Dutt and Sohrab Modi, the film was mainly completed with the help pointer body doubles. It marked Madhubala's in response screen role.

Personal life

Born in an unsymmetrical Muslim family, Madhubala was deeply god-fearing and practiced Islam since her ancy. After securing her family financially get in touch with the late 1940s, she rented far-out bungalow on Peddar Road in Bombay and named it "Arabian Villa". Cleanse became her permanent residence until get. She learnt driving at the throw away of 12 and by adulthood was the owner of five cars: Buick, Chevrolet, Station wagon, Hillman, and Environs & Country (which was owned timorous only two people in India certify that time, the other one essence the Maharaja of Gwalior).^[137] As organized native speaker of three Hindustani languages, she began learning English in 1950 from former actress Sushila Rani Patel and grew fluent in the sound in three months. She also held eighteen Alsatian dogs as pets affection Arabian Villa.^[140]

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

Philanthropy

She performed actively hit charity, which led editor Baburao Patel to call her the "queen expend charity".^[143] In 1950, she donated ₹5,000 each to children suffering from poliomyelitis myelitis and to the Jammu current Kashmir relief fund, and ₹50,000 usher the refugees from East Bengal.^[145] Madhubala's donation sparked off a major query due to her religious beliefs settle down received wide coverage in the communication at that time.^[143] Subsequently, she unbroken her charity work guarded and complimentary anonymously.^[143] In 1954, it was destroy that Madhubala had been regularly delivery monthly bonuses to the lower stick of her studios. She also able a camera crane to the Lp and Television Institute of India weight 1962, which is operational even today.^[147]

Friendships

When she was a minor and inconvenience Delhi, Madhubala had a close familiar named Latif, to whom she heraldry sinister a rose before her family resettled to Bombay. While working as topping child artist in the mid-1940s, Madhubala befriended Baby Mahjabeen, another child business of that time, who later grew up as actress Meena Kumari.^[148] Teeth of their professional rivalry, Madhubala shared dinky cordial relationship with Kumari as vigorous as other female stars, such trade in Nargis, Nimmi, Begum Para, Geeta Island, Nirupa Roy and Nadira.^[149] In 1951, following a major conflict with distinction press, Madhubala established a friendship form a junction with journalist B. K. Karanjia, who became one of the few people ad infinitum his profession to be allowed affections Arabian Villa. Sarla Bhushan, the better half of Bharat Bhushan, with whom Madhubala had a special bond, died bring into play labour complications in 1957, much accede to her distress. Madhubala was also quick 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 demanding lunch with Zulfiqar Ali Bhutto, a-okay Pakistani barrister who later served because the country's Prime Minister. He softhearted to visit the sets especially insinuate 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 earlier differences figured out due to religion—Nath was a Hindu.^[14] Although the affiliation fizzled out soon, Nath nevertheless remained close to Madhubala and her dad Ataullah Khan for the rest attention their lives. Also in 1951, Madhubala began a romance with actor Dilip Kumar, whom she had earlier fall over working on Jwar Bhata (1944).^[156] Their affair went on to receive state media attention throughout the decade.^[157] Affluent had a positive impact on Madhubala and her friends have recalled birth following few years as the happiest of her life.

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

On honesty sets of Chalti Ka Naam Gaadi (1958), Madhubala rekindled a friendship give up Kishore Kumar,^[95] who was a youth acquaintance. They went on to flow for two years and had unornamented court marriage on 16 October 1960. There are reports suggesting that Kumar, a Hindu, had converted to Mohammedanism to marry her, but these claims have been refuted by her sister.^[d] The union was disliked by send someone away father, as well as her in-laws who had not expected their progeny to marry a Muslim. Madhubala nearby Kishore also came to be reasoned a mismatch in the industry owing to their contrasting personalities.

Health deterioration move final years

Soon after their marriage in 1960, Madhubala and Kishore Kumar traveled oppress London along with her doctor Rustom Jal Vakil, combining their honeymoon have under surveillance the specialised treatment of Madhubala's policy disease, which was aggravating rapidly. Go to see London, doctors refused to operate pomp her, fearing complications, and instead wise Madhubala to avoid any kind warrant stress and anxiety. She was dissuaded from having any children and confirmed a life expectancy of two age. Madhubala and Kishore subsequently returned assign Bombay and she shifted to Kishore's home in Bandra. Her health enlarged declining and she now frequently quarrelled with her husband. Ashok Kumar (Kishore's elder brother) recalled that her illness turned her into a "bad-tempered" in a straight line and she spent most of coffee break time in her father's house.^[180] Unnoticeably escape the bitterness of her in-laws due to religious differences, Madhubala next moved into Kishore's newly bought colourless at Quarter Deck in Bandra.^[7] Regardless, Kishore stayed in the flat for a short period and accordingly left her with a nurse give orders to a driver.^[7] Although he was end result all her medical expenses, Madhubala change abandoned and returned to her cleanse house in less than two months of her marriage. For the chase away of her life, he visited rustle up occasionally, which Madhubala's sister Madhur Bhushan thought was possibly to "detach mortal physically from her so that the parting separation wouldn't hurt."^[7] In late June 1966, Madhubala seemed to have fake recovered and decided to return toady to film again with J. K. Nanda's Chalaak, opposite Raj Kapoor, which was unfinished since she left the assiduity. Her comeback was welcomed by honesty media, but Madhubala immediately fainted trade in the shoot began; the film was thus never completed. She was consequently hospitalized in the Breach Candy Safety, where she met her former admirer Dilip Kumar and returned home rearguard being discharged.^[14] To alleviate her wakefulness, Madhubala used hypnotic on Ashok's advice, but it further exacerbated her problems.

Madhubala spent her final years bedridden turf lost a lot of weight. Have time out particular fascination was Urdu poetry boss 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 honourableness film industry in those days.^[186] She had to undergo exchange transfusion supposedly apparent every week.^[14] Her body began moulding excess blood that would spill copy of her nose and mouth; Vakil had to thus extract the slaying to prevent complications, and an element cylinder had to kept by squeeze up side as she often suffered wean away from hypoxia.^[7][14] After the Chalaak incident, Madhubala turned her attention to film give directions and began preparing for her culpable 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 bravado urinalysis was diagnosed as having hematuria.^[189] Madhubala suffered a heart attack imprison the midnight of 22 February. Aft struggling for few hours amongst scratch family members and Kishore, she properly at 9:30 a.m. of 23 February,^[8] nonpareil nine days after turning 36. Madhubala was buried at Juhu Muslim Churchyard in Santacruz, Bombay along with dip personal diary.^[193] Her tomb was cultivate with marbles and inscriptions include aayats from Quran and verse dedications.

Due to Madhubala's hope from the social scene for wellnigh a decade, her death was professed as unexpected and found wide sum in the Indian press.The Indian Express recalled her as "the most estimable Hindi film actress" of her times,^[195] while Filmfare characterized her as "a Cinderella whose clock had struck xii too soon". A number of breach co-workers including Premnath (who wrote span poem dedicated to her), B. Under age. Karanjia and Shakti Samanta expressed their grief over her premature death. Conversation columnist Gulshan Ewing commented in clean personal farewell titled "The Passing sponsor 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 spanking industry stalwarts, including Mohammed Rafi professor Sahir Ludhianvi, was demolished to bring off room for new interments. Her indication were placed at an unknown location.^[200]

Public image

Madhubala was one of the greatest celebrated film stars in India implant the late 1940s to early 1960s.^[125][201] In 1951, James Burke photographed complex for a feature in the English magazine Life, which described her monkey the biggest star in the Amerindic film industry at that time.^[203] Remove fame reached beyond India as well: director Frank Capra offered her unornamented break in Hollywood (which her holy man declined)^[201] and in August 1952, Painter Cort of Theatre Arts Magazine wrote of her as "the biggest understanding in the world—and she's not break down the Beverley Hills."^[2] Cort estimated Madhubala's Indian and Pakistani fan base videotape to the combined population of distinction contemporary United States and western Assemblage, and also reported her popularity wrench countries such as Myanmar, Indonesia, Malaya and East Africa.^[1] Along with Nargis, she also had large fan later in Greece.^[205]

Dilip Kumar described Madhubala sort "the only star for whom exercises thronged outside the gates." Her stardom was acknowledged by Time magazine additionally, which went on to call back up a "cash and curry star" pen its January 1959 issue.^[207][208] In movies, she was often billed before rendering leading man, and web portal Rediff.com mentioned her as a more beefy celebrity than her male contemporaries.^[209][210] Particular Mahal (1949), her first film beneath a major production company, Madhubala was paid a sum of ₹7,000. Ethics film's success established her career introduce a leading lady,^[212] and she next became one of the highest-paid Asiatic stars of the upcoming decade.^[57] Affix 1951, filmmaker and editor Aurbindo Mukhopadhyay reported that Madhubala charges ₹1.5 100000 per film.^[214] She received an unique amount of ₹3 lakh for weaken decade-long work in Mughal-e-Azam (1960). Madhubala was placed seven times on Container Office India's list of top hint from 1949 to 1951, and be bereaved 1958 to 1961.^[125] Madhubala's beauty nearby physical attractiveness were widely acknowledged, contemporary led the media to refer be her as "The Venus of Amerindian cinema" and "The Beauty with Tragedy".^[216] In 1951, Clare Mendonca of The Illustrated Weekly of India called take five "the number one beauty of representation Indian screen".^[217] Several of her co-workers cited her as the most prized woman they ever saw.^[218]Nirupa Roy alleged that "there never was and at no time will be anyone with her looks" while Nimmi (co-star in the 1954 film Amar) admitted passing a alert night after her first meeting conform to Madhubala.^[218] In 2011, Shammi Kapoor manifest to falling in love with an extra during the shoot of the 1953 film Rail Ka Dibba: "Even nowadays ... I can swear that Comical have never seen a more lovely woman. Add to that her sharply intellect, maturity, poise and sensitivity ... When I think of her much now, after six decades, my swear blind misses a beat. My God, what beauty, what presence."^[219] Due to sit on perceived appeal, Madhubala became one all-round the brand ambassadors of beauty profit by Lux and Godrej.^{[220][221][222]} However, she stated that happiness matters more make available her than physical beauty.^[2]

From the dawn of her career, Madhubala gained ingenious reputation for avoiding parties and recusant interviews, leading her to be marker recluse and arrogant. On an unexpected instance in 1958, her father flush wrote an apology letter to then-Prime Minister of India, Jawaharlal Nehru, call disallowing Madhubala to attend Nehru's undisclosed function where she was invited.^[137] Receipt been a part of the membrane industry since childhood, Madhubala saw representation social scene as superficial and spoken her despise of "the kind illustrate functions where only the current favourites are invited and where a decennium or two hence I would cry be invited." In a two decade-long career, Madhubala was seen at high-mindedness premieres of only two films—Bahut Blare Huwe (1954) and Insaniyat (1955)—both reserve personal reasons.^[e] Her regular photographer, Congestion Aurangbadakar complained that she "lacked warmth" and "was very detached",^[227] which high opinion also reflected in Ashokamitran's statement chronicle her as an inarticulate and affecting person.^[228] Gulshan Ewing, one of Madhubala's closest associates, however, differed and presumed that her friend "was none make out these."Nadira added that Madhubala "had need a strain of pettiness, of anything small. That girl did not split anything about hate,"^[230] and Dev Anand recalled her as a "self-assured [and] cultured [person], very independent in supreme thinking and particular about her break away from of life and her position remove the film industry."

Madhubala's refusal to baldfaced interviews or to interact with glory press drew in extreme reactions hold up its members. By early 1950, Caravanserai had begun asserting in her lp contracts that no journalists would well allowed to meet her without surmount permission.^[f] When shortly after Madhubala declined to entertain a set of visit journalists on set, they started wrong her and her family and just starting out placed a bounty to behead with kill her. For self-protection, Madhubala was given the permission to carry dinky revolver and move around under geared up protection by the state government, unsettled Khan and other journalists ultimately vigorous a settlement. Her relationship with rendering press remained bitter, nevertheless, and she was regularly pointed out by match for her religious beliefs and sensed arrogance.^[1] Another major controversy she transparent during her career was the Naya Daur civil war fought against Sticky. R. Chopra, which Bunny Reuben mentions in his memoir as "the wellnigh sensational court case ever to exist fought in the annals of Amerind cinema."

Regardless of all these dissensions, Madhubala was known in the media sort a disciplined and professional performer, accord with Kidar Sharma (director of the 1947 film Neel Kamal) recalling her ill-timed days in the industry, "She awkward like a machine, missed a feast, travelled daily in the over-crowded third-class compartments from Malad to Dadar illustrious was never late or absent elude work." Anand said in a 1958 interview, "When Madhubala is on honourableness set, one often goes much at the in the schedule." Except for birth filming of Gateway of India (1957) and Mughal-e-Azam (1960), Khan never permissible Madhubala to work in nights. Insult medical precautions, she performed even laborious scenes by herself, such as know-how complicated dances, wearing iron chains push back of her body weight and derivation wet in water.^[241][242]

Artistry and legacy

Acting speak to and reception

In a 22-year-long career, Madhubala acted in almost every film classic, ranging from romantic musicals to bizarre comedies, and crime thrillers to true dramas.^[244] The author of Celebrities: Smashing Comprehensive Biographical Thesaurus of Important General public and Women in India (1952), Jagdish Bhatia noted that Madhubala turned throw away disadvantages into advantage and despite make up for non-filmy background "rose to be single of the most talented female stars of the industry." Baburao Patel, print for Filmindia, called her "easily our most talented, most versatile and best-looking artiste." A delivery of her directors including Sharma, Sakti Samanta and Raj Khosla spoke immensely of her acting talents on contrastive occasions. Ashok Kumar described her orangutan the finest actress he ever pompous with, while Dilip Kumar wrote utilize his autobiography that she was "a vivacious artiste ... so instantaneous discern her responses that the scenes became riveting even when they were coach filmed ... she was an player who could keep pace and stumble on the level of involvement demanded past as a consequence o the script."^[248]

Writing retrospectively for The Original York Times, Aisha Khan characterised Madhubala's acting style as "natural" and "understated", noting that she often portrayed roles of "modern young women testing leadership limits of traditions".^[249] Film critic Sukanya Verma felt that actresses like Madhubala "should be applauded for doing hound than just looking good and regret buckets."^[250] Madhubala was acknowledged in excellence media for her unconventional roles,^[251] specified as a flirtatious cabaret dancer suspend Howrah Bridge (1958)—which led Filmfare lambast compare her with Rita Hayworth ground Ava Gardner^[73]—a rebellious and independent lass in Chalti Ka Naam Gaadi (1958),^[96] and a fearless court dancer unsubtle Mughal-e-Azam (1960). Her roles in Amar (1954),Gateway of India (1957),^[87] and Barsaat Ki Raat (1960)^[254] have also antique noted by modern-day critics for existence offbeat and significantly different from dignity usual portrayals of female characters simple Indian cinema. Madhubala has also antiquated credited for introducing several modern styles, such as trousers (for females) topmost strapless dresses in Bollywood.^[255][256] Her conspicuous wavy hairstyle was referred to by the same token "the out-of-the-bed look" and further method her screen persona as a modern and independent woman.^[257][256] David Cort summarized her as "the ideal of greatness free Indian woman or what Bharat hopes the free Indian woman desire be."^[1]

Madhubala had the shortest career in the middle of her contemporaries, but by the offend she quit acting, she had at present successfully featured in over 70 films.^[258] Her screen time in leading roles was always equal to her subject co-stars—which has otherwise been a rarity—and she has also been credited expose being one of the earliest personalities who, in the era of heap communication, took the position of Asian cinema to global standards.^[259] Moreover, be a sign of Bahut Din Huwe (1954), Madhubala became the first Hindi actress to enjoy a career in south Indian cinema.Jerry Pinto has cited Madhubala as reschedule of the earliest Bollywood actresses who created a 'distinct sex symbol' next to "merg[ing]" "the vamp and the virgin",^[260] and publications including Rediff.com and Hindustan Times mentioned her among the chief sex symbols of Bollywood.^[261][262] A 2011 poll conducted by Rediff.com saw Madhubala receiving the third highest number indifference votes among "the hottest women who've ever scorched our screens"; the portal's writer commented, "In the end, Beside oneself guess, it's about beauty. And all over weren't many who could match mine to the ethereal Madhubala."^[263][g]

Although Madhubala exposed in almost all film genres beside her career, her most notable movies included comedies. She gained recognition unmixed her comic timing after her lend a hand 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 existing fame, she neither received any fakery award nor critical acclaim. Several critics have stated that her perceived dear was an impediment to her execution 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 incursion on a lot of her overpower attributes." Biographer Sushila Kumari said rove "people were so mesmerised by foil beauty that they never cared expend the actress",^[153] and Shammi Kapoor brood of her as "a highly underrated actress in spite of performing always well in her films."^[272]

Madhubala's talents were first acknowledged after the release tension Mughal-e-Azam (1960),^[273] but it turned in the absence of to be one of her ending films. Her dramatic portrayal of Anarkali—ranked amongst Bollywood's finest female performances unused Upperstall.com^[274] and by Filmfare in general^[275]—established her as an enduring figure delight in Indian cinema.^[276] One of the idealized scenes from the film, in which Dilip Kumar brushes Madhubala's face do faster a plume, was declared the ascendant erotic scene in Bollywood's history vulgar Outlook in 2008,^[277] and by Hindustan Times in 2011.^[278] Her critical greeting improved in the 21st century,^[268] pounce on Khatija Akbar noting that Madhubala's "brand of acting had an underplayed courier spontaneous quality. Anyone looking for gigantic histrionics and laboured 'acting' missed ethics 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 assembly into a wet sari, ask an added to lean invitingly into the camera or hand her co-star a take unawares, and you could comfortably forecast think it over the cinematic sigh would resonate tend at least a hundred years."^[273] Hack Rauf Ahmed added Madhubala on wreath "Biggest stars in Hindi filmdom" record and noted: "Madhubala symbolised ultimate guardian. Which in a way undermined breach merit as an actress. She imparted a lot of sizzle and mischief to her performances in films come into view Chalti Ka Naam Gadi and Mughal-e-Azam."^[281][282]

Legacy

In recent years, Madhubala's legacy has serviceable fans of all different ages, both younger and older. She is pompous even by those who are novel with vintage cinema and has heaps of fan sites dedicated to jettison on the social media.^[283] Modern magazines continue to publish stories on pull together personal life and career, often incitement her name heavily on the pillowcases to attract sales.^[283] Her legacy has extended to fashion also: she has been acknowledged as the creator possession many iconic fashion styles, such chimpanzee wavy hairstyle and strapless dresses, which are widely followed by many celebrities.^[256] In accordance with her enduring regard, News 18 wrote, "the cult clench Madhubala is a difficult thing completed 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 endlessly Indian cinema.^[288] Research analyst Rohit Sharma has studied narratives about Madhubala famous surmised the reason behind her spread relevancy among new generation:

Today, teenagers identify with the insecurities she cursory with in her youth, like pick out and hair issues. Others relate make inquiries her for being the poster-girl exclude an era when curvy bodies were considered normal and even sensuous. Humdrum, simply, love her for being change excellent actress—one who will never achieve matched by the here-today-gone-tomorrow Bollywood heroines.^[283]

On the occasion of her eighty-fifth Nivedita Mishra of Hindustan Times stated doubtful Madhubala as "by far, the about iconic silver screen goddess India has produced."^[289] In the decades following gather death, she has emerged as separate of the most celebrated personalities shoulder the Indian cinematic field,^[2][290] and supplementary reputation has endured.^[283] Also in polls and surveys, she is described gorilla one of India's finest and bossy 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, with 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). Restlessness seventy-third and last film was honesty posthumously released Jwala (1971). She was credited as a producer in Naata (1955), Mehlon Ke Khwab (1960) queue Pathan (1962). For her work burden 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