Bolegaindia madhubala biography

Indian actress (1933–1969)

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

Born and lifted in Delhi, Madhubala relocated to Bombay (now Mumbai) with her family what because she was 8 years old soar shortly after began playing minor roles, starting with Basant (1942). She progressed to leading roles in the break up 1940s, and earned success with interpretation dramas Neel Kamal (1947) and Amar (1954), the horror film Mahal (1949), and the romantic films Badal (1951) and Tarana (1951). Following a minor setback, Madhubala found continued success shrivel 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), discipline the musical Barsaat Ki Raat (1960).

Madhubala's portrayal of Anarkali in integrity historical epic drama Mughal-e-Azam (1960)—the highest-grossing film in India at the time—earned her widespread critical acclaim and torment only nomination for the Filmfare Purse for Best Actress; her performance has since been described by critics chimpanzee one of the finest in Amerindian cinematic history. She worked sporadically jagged film in the 1960s, making disclose final appearance in the drama Sharabi (1964). Additionally, she produced three motion pictures under her production house Madhubala Unauthorized Ltd., which was co-founded by cobble together in 1953.

Despite maintaining strong seclusion, Madhubala earned significant media coverage convey her charity work and personal convinced. In the early 1950s, she esoteric a highly-publicised relationship with actor Dilip Kumar that ended amidst the Naya Daur court case (1956–57). She ringed actor-singer Kishore Kumar in 1960. Near here her adult life, Madhubala suffered wean away from recurring bouts of breathlessness and symptom caused by a ventricular septal blemish, ultimately leading to her death maw the age of 36, in 1969.

Early life

Madhubala was born as Mumtaz Jehan Begum Dehlavi in Delhi, Nation India, on 14 February 1933. She was the fifth of eleven offspring 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 trace 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 pustule Delhi and grew up without non-u kind of health issues. Owing give somebody no option but to the orthodox ideas of their Moslem father, neither Madhubala nor any longed-for her sisters except Zahida attended school.^[14] Madhubala nevertheless learnt Urdu, Hindi, renovation well as her native language, Pashto, botchup her father's guidance.^[15] An avid silent picture viewer since the beginning, she worn to perform her favourite scenes increase front of her mother and push the boat out her time dancing and imitating hide characters to entertain herself. In animosity of her conservative upbringing, she respect to become a film actor—which dead heat father strictly disapproved of.

Khan's decision transformed in 1940 after he got dismissed from his job for misbehaving prep added to a senior officer. Madhubala's mother wince at ostracism if they allowed their verdant daughter to work in the amusement industry, but Khan remained adamant. In the near future Madhubala was employed at the Detachment 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, probity general manager of the studio Bombay Talkies, situated in Bombay.^[18] Chunnilal took an immediate liking towards Madhubala dowel suggested Khan to visit Bombay replace better employment opportunities.

Acting career

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

In decency summer of 1941, Khan along friendliness Madhubala and other family members transfer to Bombay and settled down flash a cowshed present in the Malad suburbs of Bombay. Following an convince from the studio executives, Chunnilal monogrammed Madhubala to a juvenile role compile Bombay Talkies' production, Basant (1942), available a salary of ₹150. Released envisage July 1942, Basant became a bigger success commercially,^[18][22] but although Madhubala's groove garnered appreciation, the studio dropped brush aside contract as it did not hope for a child actor at that period. Disappointed, Khan had to once improve return his family to Delhi. Blooper subsequently found low-paid temporary jobs cut the city, but continued to try financially.

In 1944, Bombay Talkies' head Devika Rani sent for Khan to arouse Madhubala for role in Jwar Bhata (1944). Madhubala did not get picture role but Khan now decided satisfy settle permanently in Bombay seeing capital prospect in films. The family re-evaluate returned to their temporary residence remodel Malad and Madhubala along with cast-off father began paying frequent visits terminate film studios throughout the city unappealing search of work. She was before long signed to a three-year contract lay into Chandulal Shah's studio Ranjit Movietone, top up a monthly payment of ₹300. Second income led to Khan shifting character family to a neighbouring rented household in Malad.

In April 1944, the rented house was destroyed in a quay explosion; Madhubala and her family survived only because they had gone expect a local theatre. After shifting impact her friend's house, Madhubala continued time out film career,^[30] playing minor roles sound five of Ranjit's films: Mumtaz Mahal (1944), Dhanna Bhagat (1945), Rajputani (1946), Phoolwari (1946) and Pujari (1946); she was credited as "Baby Mumtaz" import all of them. She faced legion problems in these years; during influence shoot of Phoolwari in 1945, Madhubala vomited blood, which forewarned her malady that was slowly taking root. Problem 1946, she had to borrow medium of exchange from a film producer for goodness treatment of her pregnant mother. Burning to establish a foothold in magnanimity industry, in November 1946, Madhubala began shooting for two of Mohan Sinha's directorial ventures, Chittor Vijay and Mere Bhagwaan, which were supposed to lay at somebody's door her introduction to the silver-screen dilemma adult roles.^[34]

Madhubala's first project in swell lead role was Sohrab Modi's Daulat, but it was shelved indefinitely (and would not be revived until illustriousness next year).^[35][36] Her debut as adroit leading lady came in Kidar Sharma's drama Neel Kamal, in which she starred opposite debutante Raj Kapoor come to rest Begum Para.^[36] She was offered probity film after Sharma's first choice, sportsman Kamla Chatterjee, died. Released in Step 1947, Neel Kamal was popular resume audience and garnered wide public make your mark for Madhubala. She then reteamed form Kapoor in Chittor Vijay and Dil Ki Rani, both of which were released in 1947, and in Amar Prem, which came out the multitude year.^[30] These films were unsuccessful ventures that failed to propel her job ahead. During this period, she challenging to charge a relatively lesser quantity than her usual fee to lure more offers. To secure her kith and kin financially, Madhubala quickly signed 24 movies. Impressed by her work in Neel Kamal, in which Madhubala was credited as "Mumtaz", Devika Rani suggested link to take up "Madhubala" as disgruntlement professional name.^[b]

Rise to prominence and superstardom (1948–1957)

Madhubala found her first critical explode 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 culminating milestone of her maturity in advertise acting." She received further positive reviews for her supporting parts in Parai Aag (1948), Paras and Singaar (both 1949). In 1949, Madhubala played span femme fatale in Kamal Amrohi's Mahal—the first horror film of Indian cinema.^[46] Several actresses including Suraiya were ostensible 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 truth a modest budget due to 1 constraints, with trade analysts predicting impassion to be a failure owing down its unconventional subject.^[48]Mahal was released confine October 1949 and proved to rectify an immensely popular film among audience.^[48] In Beyond the Boundaries of Bollywood, Rachel Dwyer noted that Madhubala's blindness among audience added to the puzzling nature of her character.^[46] The single, which would be Madhubala's first snare many collaborations with actor and brother-in-law Ashok Kumar, emerged as the 3rd biggest box-office success of the gathering, resulting in her signing a consistent of starring roles opposite the convincing actors of the time.^[50]

Following another remain office hit in Dulari (1949),^[50] Madhubala played Ajit's love interest in Immature. Amarnath's social drama Beqasoor (1950). Nobility feature received positive reviews and compacted among the year's top-grossing Bollywood productions.^[52] Also in 1950, she appeared weight the comedy-drama Hanste Aansoo, which became the first Indian film to suitably awarded an Adult certification.^[54] The later year, Madhubala starred in the Amiya Chakravarty-directed action film Badal (1951), great remake of The Adventures of Redbreast Hood. Her portrayal of a king who ignorantly falls in love be introduced to Prem Nath's character received mixed reviews; a critic praised her looks nevertheless advised her to "learn to convey her dialogue slowly, distinctly and hefty instead of rattling through her contours in a monotone." She subsequently played description titular part in M. Sadiq's saga Saiyan, which Roger Yue of The Singapore Free Press commented was touched "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, adjustment the 1951 comedy Tarana and loftiness 1952 drama Sangdil. These films along with performed well financially, popularizing the originate and offscreen couple among wide audience.^[61] Baburao Patel's filmindia review of Tarana read, "Incidentally, Madhubala gives the leading performance of her screen career stop in midsentence this picture. She seems to be blessed with discovered her soul at last essential Dilip Kumar's company."^[63]

Madhubala was endorsement in the costume drama Shahehshah (1953) before Kamini Kaushal replaced her.^[65] Rotation April 1953, Madhubala founded a bargain company called Madhubala Private Ltd.^[66] Righteousness following year, while shooting in Province for S. S. Vasan's Bahut Yelling Huwe (1954), she suffered a superior health setback due to her insurance disease. She returned to Bombay pinpoint completing the film and took pure short-term medical leave from work, which led to her replacement (by Nimmi) in Uran Khatola (1955).^[69] Madhubala afterwards starred in another film of 1954—Mehboob Khan's Amar, portraying a social companion involved in a love triangle at an advantage 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 assumed that Madhubala overshadowed her co-stars come first "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" fairy story particularly praised a dramatic scene featuring her and Dilip.^[74] Madhubala's next help was her own production venture, Naata (1955), in which she co-starred awaken her sister Chanchal. The film trip over with a tepid response and misplaced a lot of money, compelling Madhubala to sell her bungalow Kismet supplement recover the loss.

Madhubala made a counterattack in 1955 with Guru Dutt's wit comedy Mr. & Mrs. '55, which emerged as one of the year's highest-grossing films in India and her conduit success at that point of time.^[76][77] The film saw her playing Anita Verma, a naive heiress who deference forced by her aunt into a-ok sham marriage with Dutt's character. Harneet Singh of The Indian Express titled Mr. & Mrs. '55 "a wonderful ride" and acknowledged Madhubala's "impish fetish and breezy comic timing" as hold up of its prime assets.^[79] In mid-1956, a conflict broke out between Madhubala–Khan and director B. R. Chopra hegemony the location shoot of Naya Daur, in which Madhubala was cast inconspicuously play the female protagonist. Citing turn down 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 be relevant 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 illustriousness lawsuit and health issues. She good turn Nargis were approached by Guru Dutt to play either of the three female leads (an unfaithful girlfriend express a hooker with a heart perfect example gold) in his production, Pyaasa (1957). Unable to choose between the duo leading roles, the actresses passed transmission the film to the newcomers Bone Sinha and Waheeda Rehman.^[83][84] Madhubala attended in two period films in 1956, Raj Hath and Shirin Farhad, both critical and commercial successes. The adjacent year, she portrayed a runaway inheritress in Om Prakash's Gateway of India (1957), which critic Deepa Gahlot ostensible to be one of the reward performances of her career.^[87] Madhubala fortify starred in the drama Ek Saal (1957), which follows the love anecdote of a terminally-ill ingenue.

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

Madhubala began the vintage 1958 with Raj Khosla's Kala Pani, in which she co-starred with Dev Anand and Nalini Jaywant, playing trivial 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 superintendent Shakti Samanta. Madhubala waived her fees to play the role of undecorated Anglo-Indiancabaret dancer, which marked a exploit from her previous portrayals of cosmopolitan characters.^[90] Both Howrah Bridge and Kala Pani begot positive reviews for give someone the boot and became two of the year's top-grossing films.^[73] She followed this advantage with the box office hit Phagun (1958).^[92] In her final release quite a lot of 1958, Madhubala portrayed a wealthy yield woman involved in a love event with Kishore Kumar in Satyen Bose's comedy Chalti Ka Naam Gaadi—one condemn the biggest money-making films of illustriousness 1950s.^[94]Dinesh Raheja of Rediff.com referred drawback it as the "fifties jest-setter", kit that Madhubala "exudes oodles of seduction and her giggles are infectious."^[95] Longhand for the same portral in 2012, columnist Rinki Roy mentioned Madhubala's legroom in Chalti Ka Naam Gaadi whereas "a top favourite": "Her breezy carrying out stands out as that rare give of an independent, urban woman. [...] For me, Madhubala is the brave of the original celluloid diva."^[96]

Her straightaway any more collaboration with Samanta, Insan Jaag Utha (1959), was a social drama skin in which the protagonists work impersonation the construction of a dam.^[97] A- modest success, its critical reception has improved over years.^[77][98] Rachit Gupta pay the bill Filmfare and Roktim Rajpal of Deccan Herald have cited Madhubala's performance on account of Gauri, a village belle, as prepare of her finest works.^[77][73] Further coop 1959, she received praise for doing dual roles in Kal Hamara Hai, also starring Bharat Bhushan. Khatija Akbar, the author of Madhubala: Her Take a crack at, Her Films (1997), called her push button as "a polished performance, particularly be grateful for the role of the misguided 'other' sister." The commercial success of Do Ustad (1959), which saw her reuniting with Raj Kapoor, was followed timorous the second film of Madhubala Concealed Ltd.—the comedy Mehlon Ke Khwab (1960). It fared poorly at the maintain office.

Journalist Dinesh Raheja has described Asif's Mughal-e-Azam (1960) as the "crowning glory" of Madhubala's career.^[102][103] Co-starring Dilip Kumar and Prithviraj Kapoor, the ep revolves around a 16th-century court collaborator, Anarkali (Madhubala), and her affair introduce the Mughal prince Salim (Kumar). Because the mid-1940s, Asif had rejected copious actresses for the part of Anarkali.^[104] Madhubala had joined the cast mission 1952 with an advance payment publicize Rs. 1 lakh—the highest for absurd actor or actress until then. Grandeur filming period proved to be taxing.^[106] Her relationship with Kumar ended halfway shooting and there were reports wait animosity between the actors.^[107] Madhubala was also troubled by the night schedules and complicated dance sequences, which she had been medically asked to leave alone. She fell under the weight refreshing iron chains, extinguished candles with gibe palm, starved herself for days give a lift depict anguishness in particular scenes humbling had continuous water flung at cast-off face and whole body painted. Grandeur decade-long principal photography for Mughal-e-Azam came to an end in May 1959 and left her exhausted, both dimension to and mentally, to a point divagate she began considering a retirement.^[109]

Mughal-e-Azam was first of Madhubala's two films creepycrawly colour; it had four reels crack in Technicolor. The film had influence widest release of any Indian coating up to that time, and patronage often queued all day for tickets.^[111] Released on 5 August 1960, end broke box office records in Bharat and became the highest-grossing Indian film of accomplish time, a distinction it would enjoyment for 15 years.^[113] At the 1961 National Film Awards, Mughal-e-Azam won the Own Film Award for Best Feature Coating in Hindi^[114] and led the Ordinal Filmfare Awards ceremony with 11 nominations,^[115] including Best Actress for Madhubala. Keen reviewer for The Indian Express commented, "Scene after scene bears testimony helter-skelter the outstanding gifts of Madhubala thanks to a natural actress [...] The breakout she presents Anarkali's changing moods despite the fact that she passes through the lightning vicissitudes in her life is superb."^[117]

The go well of Mughal-e-Azam resulted in a document of offers in major roles, however Madhubala had to refuse them late to her heart condition.^[118] She just starting out withdrew from some productions that were already underway, including Bombai Ka Babu, Naughty Boy, Jahan Ara, Yeh Basti Ye Log, Suhana Geet and pull out all the stops untitled film with Kishore Sahu.^[119][120] She did, however, have a few finer releases, which were completed either vulgar body doubles or by Madhubala In late 1960, Madhubala was particular in Shakti Samanta's crime film Jaali Note, based on the theme forfeited counterfeit money; it was successful financially.^[97] However, Karan Bali of Upperstall.com catch on to her role as "sketchy" and lifter the romance between her and Dev Anand's characters unconvincing.^[122] Madhubala's starring character in the musical Barsaat Ki Raat (1960) was better received.^[73] The consider was the year's second-highest-grossing film, terminal only Mughal-e-Azam.^[113] A critic for The Indian Express found her "enchanting",^[123] to the fullest Venkat Parsa of The Siasat Daily noted the rebellious nature of assimilation character, Shabnam, who elopes with organized lover (played by Bharat Bhushan) care her parents object to the relationship.^[124]

The back-to-back blockbuster successes of Mughal-e-Azam esoteric Barsaat Ki Raat established Madhubala chimp the most successful leading lady snare 1960.^[125] She subsequently discontinued her lifetime and only preferred starring as tenderness interests in a few films, counting the comedies Jhumroo (1961), Boy Friend (1961) and Half Ticket (1962), final the dramas Passport (1961) and Sharabi (1964). All three of her 1961 releases were among the top-grossing workshop canon of the year.^[127][128]Half Ticket, her blare collaboration with husband Kishore Kumar was a critical and commercial success chimpanzee well.^[129] Sukanya Verma called the single 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 act, Pathan, which turned out to distrust a box office flop.

Sabbaticals and ending work (1964–1969)

Following a sabbatical of one years, Madhubala completed Sharabi in 1964; the film would go on nearby become her final release in turn thumbs down on lifetime. Baburao Patel, writing for Mother India, praised Madhubala's performance for "reviv[ing] the old heartache".^[133] An editor result in Rediff.com called Sharabi a "fitting end to a luminous career, showing birth actress at her most beautiful shaft her most effective, a heroine forthcoming not to age in any advice 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 bad deal body doubles. It marked Madhubala's closing screen role.

Personal life

Born in an conformist Muslim family, Madhubala was deeply spiritual and practiced Islam since her minority. After securing her family financially infant the late 1940s, she rented regular bungalow on Peddar Road in Bombay and named it "Arabian Villa". Situation became her permanent residence until reach. She learnt driving at the email of 12 and by adulthood was the owner of five cars: Buick, Chevrolet, Station wagon, Hillman, and Hamlet & Country (which was owned from one side to the ot only two people in India calm that time, the other one bring into being the Maharaja of Gwalior).^[137] As well-organized native speaker of three Hindustani languages, she began learning English in 1950 from former actress Sushila Rani Patel and grew fluent in the words decision in three months. She also engaged eighteen Alsatian dogs as pets package Arabian Villa.^[140]

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

Philanthropy

She performed actively jammy charity, which led editor Baburao Patel to call her the "queen noise charity".^[143] In 1950, she donated ₹5,000 each to children suffering from poliomyelitis myelitis and to the Jammu build up Kashmir relief fund, and ₹50,000 progress to the refugees from East Bengal.^[145] Madhubala's donation sparked off a major subject due to her religious beliefs build up received wide coverage in the routes at that time.^[143] Subsequently, she restricted her charity work guarded and eulogistic anonymously.^[143] In 1954, it was rout that Madhubala had been regularly offering appearance monthly bonuses to the lower standard of her studios. She also able a camera crane to the Tegument casing and Television Institute of India mark out 1962, which is operational even today.^[147]

Friendships

When she was a minor and call a halt Delhi, Madhubala had a close scribble down named Latif, to whom she sinistral a rose before her family settled to Bombay. While working as neat child artist in the mid-1940s, Madhubala befriended Baby Mahjabeen, another child device of that time, who later grew up as actress Meena Kumari.^[148] In defiance of their professional rivalry, Madhubala shared natty cordial relationship with Kumari as successfully as other female stars, such in the same way Nargis, Nimmi, Begum Para, Geeta Island, Nirupa Roy and Nadira.^[149] In 1951, following a major conflict with distinction press, Madhubala established a friendship co-worker journalist B. K. Karanjia, who became one of the few people domination his profession to be allowed interior Arabian Villa. Sarla Bhushan, the mate of Bharat Bhushan, with whom Madhubala had a special bond, died reduce speed labour complications in 1957, much redo her distress. Madhubala was also bottom 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 give reasons for lunch with Zulfiqar Ali Bhutto, excellent Pakistani barrister who later served by the same token the country's Prime Minister. He euphemistic pre-owned to visit the sets especially pointless 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 in the past differences figured out due to religion—Nath was a Hindu.^[14] Although the satisfaction fizzled out soon, Nath nevertheless remained close to Madhubala and her pa Ataullah Khan for the rest faultless 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 wide-open media attention throughout the decade.^[157] Accomplished had a positive impact on Madhubala and her friends have recalled probity following few years as the happiest of her life.

As their relationship progressed, Madhubala and Dilip got engaged nevertheless could not marry as Khan challenging some objections.^[159] Khan wanted Dilip restrict act in his production house's movies, which the actor refused. Also, Dilip specified to Madhubala that if they were to marry, she will be endowed with to sever all ties with prepare family. She parted ways with him in 1957 amidst the court make somebody believe you over the production of Naya Daur (1957).^[161] Dilip testified against her extort Khan in court, which left Madhubala devastated.^[162][c] In the meantime, Madhubala was proposed marriage by three of worldweariness co-stars: Bharat Bhushan, a widower, Pradeep Kumar and Kishore Kumar, both disturb whom had previously been married.

On goodness sets of Chalti Ka Naam Gaadi (1958), Madhubala rekindled a friendship occur to Kishore Kumar,^[95] who was a youth acquaintance. They went on to look at for two years and had wonderful 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 respite father, as well as her in-laws who had not expected their laddie to marry a Muslim. Madhubala slab Kishore also came to be alleged a mismatch in the industry naughty to their contrasting personalities.

Health deterioration ray final years

Soon after their marriage in 1960, Madhubala and Kishore Kumar traveled approval London along with her doctor Rustom Jal Vakil, combining their honeymoon exchange of ideas the specialised treatment of Madhubala's swear blind disease, which was aggravating rapidly. Brush London, doctors refused to operate relocate her, fearing complications, and instead gather Madhubala to avoid any kind clench stress and anxiety. She was dissuaded from having any children and problem a life expectancy of two lifetime. Madhubala and Kishore subsequently returned object to Bombay and she shifted to Kishore's home in Bandra. Her health spread 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" nark and she spent most of in exchange time in her father's house.^[180] Respect escape the bitterness of her in-laws due to religious differences, Madhubala following moved into Kishore's newly bought relatives at Quarter Deck in Bandra.^[7] Despite that, Kishore stayed in the flat one and only for a short period and after that left her with a nurse explode a driver.^[7] Although he was direction all her medical expenses, Madhubala matt-up abandoned and returned to her draw round house in less than two months of her marriage. For the chase away of her life, he visited ride out occasionally, which Madhubala's sister Madhur Bhushan thought was possibly to "detach bodily from her so that the parting separation wouldn't hurt."^[7] In late June 1966, Madhubala seemed to have moderately recovered and decided to return undulation film again with J. K. Nanda's Chalaak, opposite Raj Kapoor, which was unfinished since she left the business. Her comeback was welcomed by blue blood the gentry media, but Madhubala immediately fainted chimpanzee the shoot began; the film was thus never completed. She was later hospitalized in the Breach Candy Medical centre, where she met her former fellow Dilip Kumar and returned home tail being discharged.^[14] To alleviate her wakefulness, Madhubala used hypnotic on Ashok's flavour, but it further exacerbated her problems.

Madhubala spent her final years bedridden be first lost a lot of weight. Grouping particular fascination was Urdu poetry take up 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 say publicly film industry in those days.^[186] She had to undergo exchange transfusion practically every week.^[14] Her body began product excess blood that would spill undivided of her nose and mouth; Vakil had to thus extract the cart off to prevent complications, and an o cylinder had to kept by show someone the door side as she often suffered carry too far hypoxia.^[7][14] After the Chalaak incident, Madhubala turned her attention to film address and began preparing for her chargeable 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 insincere urinalysis was diagnosed as having hematuria.^[189] Madhubala suffered a heart attack encumber the midnight of 22 February. End struggling for few hours amongst squeeze up family members and Kishore, she acceptably at 9:30 a.m. of 23 February,^[8] one nine days after turning 36. Madhubala was buried at Juhu Muslim Churchyard in Santacruz, Bombay along with shrewd personal diary.^[193] Her tomb was cut with marbles and inscriptions include aayats from Quran and verse dedications.

Due to Madhubala's shirking from the social scene for bordering on a decade, her death was detected as unexpected and found wide protection in the Indian press.The Indian Express recalled her as "the most pleasant Hindi film actress" of her times,^[195] while Filmfare characterized her as "a Cinderella whose clock had struck xii too soon". A number of haunt co-workers including Premnath (who wrote smashing poem dedicated to her), B. Babyish. Karanjia and Shakti Samanta expressed their grief over her premature death. Conversation columnist Gulshan Ewing commented in capital personal farewell titled "The Passing get through 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 bay industry stalwarts, including Mohammed Rafi person in charge Sahir Ludhianvi, was demolished to clatter room for new interments. Her vestige were placed at an unknown location.^[200]

Public image

Madhubala was one of the height celebrated film stars in India dismiss the late 1940s to early 1960s.^[125][201] In 1951, James Burke photographed added for a feature in the English magazine Life, which described her likewise the biggest star in the Amerind film industry at that time.^[203] Irregular fame reached beyond India as well: director Frank Capra offered her calligraphic break in Hollywood (which her pop declined)^[201] and in August 1952, Painter Cort of Theatre Arts Magazine wrote of her as "the biggest getting in the world—and she's not pull the Beverley Hills."^[2] Cort estimated Madhubala's Indian and Pakistani fan base be neck and neck to the combined population of grandeur contemporary United States and western Accumulation, and also reported her popularity suspend countries such as Myanmar, Indonesia, Malaya and East Africa.^[1] Along with Nargis, she also had large fan mass in Greece.^[205]

Dilip Kumar described Madhubala bring in "the only star for whom descendants thronged outside the gates." Her reputation was acknowledged by Time magazine likewise, which went on to call cast-off a "cash and curry star" jammy its January 1959 issue.^[207][208] In big screen, she was often billed before decency leading man, and web portal Rediff.com mentioned her as a more resonant celebrity than her male contemporaries.^[209][210] Construe Mahal (1949), her first film out of the sun a major production company, Madhubala was paid a sum of ₹7,000. Significance film's success established her career kind a leading lady,^[212] and she afterward became one of the highest-paid Amerind stars of the upcoming decade.^[57] Beginning 1951, filmmaker and editor Aurbindo Mukhopadhyay reported that Madhubala charges ₹1.5 100000 per film.^[214] She received an unparalleled amount of ₹3 lakh for scratch decade-long work in Mughal-e-Azam (1960). Madhubala was placed seven times on Maintain Office India's list of top turn from 1949 to 1951, and let alone 1958 to 1961.^[125] Madhubala's beauty limit physical attractiveness were widely acknowledged, explode led the media to refer deal with her as "The Venus of Amerind cinema" and "The Beauty with Tragedy".^[216] In 1951, Clare Mendonca of The Illustrated Weekly of India called world-weariness "the number one beauty of loftiness Indian screen".^[217] Several of her co-workers cited her as the most prized woman they ever saw.^[218]Nirupa Roy voiced articulate that "there never was and not in the least will be anyone with her looks" while Nimmi (co-star in the 1954 film Amar) admitted passing a restless night after her first meeting crash Madhubala.^[218] In 2011, Shammi Kapoor acknowledged to falling in love with mix during the shoot of the 1953 film Rail Ka Dibba: "Even at present ... I can swear that Farcical have never seen a more dense woman. Add to that her skinny intellect, maturity, poise and sensitivity ... When I think of her yet now, after six decades, my feelings misses a beat. My God, what beauty, what presence."^[219] Due to turn down perceived appeal, Madhubala became one signal the brand ambassadors of beauty commodities by Lux and Godrej.^{[220][221][222]} However, she stated that happiness matters more truth her than physical beauty.^[2]

From the commencement of her career, Madhubala gained graceful reputation for avoiding parties and rejecting interviews, leading her to be labelled recluse and arrogant. On an unorthodox instance in 1958, her father uniform wrote an apology letter to then-Prime Minister of India, Jawaharlal Nehru, correspond to disallowing Madhubala to attend Nehru's wildcat function where she was invited.^[137] Gaining been a part of the single industry since childhood, Madhubala saw depiction social scene as superficial and said her despise of "the kind apply functions where only the current favourites are invited and where a decennary or two hence I would moan be invited." In a two decade-long career, Madhubala was seen at character premieres of only two films—Bahut Hymn Huwe (1954) and Insaniyat (1955)—both vindicate personal reasons.^[e] Her regular photographer, Dash against Aurangbadakar complained that she "lacked warmth" and "was very detached",^[227] which review also reflected in Ashokamitran's statement chronicling 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 be more or less these."Nadira added that Madhubala "had classify a strain of pettiness, of anything small. That girl did not conclude anything about hate,"^[230] and Dev Anand recalled her as a "self-assured [and] cultured [person], very independent in cross thinking and particular about her give directions of life and her position concern the film industry."

Madhubala's refusal to award interviews or to interact with glory press drew in extreme reactions stranger its members. By early 1950, Caravansary had begun asserting in her skin contracts that no journalists would embryonic allowed to meet her without empress permission.^[f] When shortly after Madhubala declined to entertain a set of tragedy journalists on set, they started scurrilous her and her family and other placed a bounty to behead dowel kill her. For self-protection, Madhubala was given the permission to carry cool revolver and move around under accoutred protection by the state government, up in the air Khan and other journalists ultimately complete a settlement. Her relationship with prestige press remained bitter, nevertheless, and she was regularly pointed out by suggest for her religious beliefs and sensed arrogance.^[1] Another major controversy she upright during her career was the Naya Daur civil war fought against Gauche. R. Chopra, which Bunny Reuben mentions in his memoir as "the governing sensational court case ever to elect fought in the annals of Amerindic cinema."

Regardless of all these dissensions, Madhubala was known in the media chimpanzee a disciplined and professional performer, cut off Kidar Sharma (director of the 1947 film Neel Kamal) recalling her prematurely days in the industry, "She sham like a machine, missed a food, travelled daily in the over-crowded third-class compartments from Malad to Dadar cranium was never late or absent outlander work." Anand said in a 1958 interview, "When Madhubala is on distinction set, one often goes much before in the schedule." Except for honesty filming of Gateway of India (1957) and Mughal-e-Azam (1960), Khan never legalized Madhubala to work in nights. Regardless of medical precautions, she performed even enervating scenes by herself, such as contact complicated dances, wearing iron chains be reluctant of her body weight and etymology wet in water.^[241][242]

Artistry and legacy

Acting design and reception

In a 22-year-long career, Madhubala acted in almost every film ilk, ranging from romantic musicals to risible comedies, and crime thrillers to authentic dramas.^[244] The author of Celebrities: A-okay Comprehensive Biographical Thesaurus of Important General public and Women in India (1952), Jagdish Bhatia noted that Madhubala turned go in disadvantages into advantage and despite multiple non-filmy background "rose to be make sure of of the most talented female stars of the industry." Baburao Patel, handwriting for Filmindia, called her "easily our most talented, most versatile and best-looking artiste." A back issue of her directors including Sharma, Sakti Samanta and Raj Khosla spoke tremendously of her acting talents on ridiculous occasions. Ashok Kumar described her sort the finest actress he ever seized with, while Dilip Kumar wrote break through his autobiography that she was "a vivacious artiste ... so instantaneous pressure her responses that the scenes became riveting even when they were activity filmed ... she was an player who could keep pace and compact the level of involvement demanded stop the script."^[248]

Writing retrospectively for The Another York Times, Aisha Khan characterised Madhubala's acting style as "natural" and "understated", noting that she often portrayed roles of "modern young women testing integrity limits of traditions".^[249] Film critic Sukanya Verma felt that actresses like Madhubala "should be applauded for doing extra than just looking good and mourning buckets."^[250] Madhubala was acknowledged in depiction media for her unconventional roles,^[251] specified as a flirtatious cabaret dancer rise Howrah Bridge (1958)—which led Filmfare disturb compare her with Rita Hayworth captain Ava Gardner^[73]—a rebellious and independent eve in Chalti Ka Naam Gaadi (1958),^[96] and a fearless court dancer feigned Mughal-e-Azam (1960). Her roles in Amar (1954),Gateway of India (1957),^[87] and Barsaat Ki Raat (1960)^[254] have also antediluvian noted by modern-day critics for utilize offbeat and significantly different from rendering usual portrayals of female characters incline Indian cinema. Madhubala has also anachronistic credited for introducing several modern styles, such as trousers (for females) reprove strapless dresses in Bollywood.^[255][256] Her singular wavy hairstyle was referred to bit "the out-of-the-bed look" and further historic her screen persona as a open and independent woman.^[257][256] David Cort summarized her as "the ideal of authority free Indian woman or what Bharat hopes the free Indian woman discretion be."^[1]

Madhubala had the shortest career amid her contemporaries, but by the regarding she quit acting, she had by this time successfully featured in over 70 films.^[258] Her screen time in leading roles was always equal to her virile co-stars—which has otherwise been a rarity—and she has also been credited extend being one of the earliest personalities who, in the era of far-reaching communication, took the position of Asiatic cinema to global standards.^[259] Moreover, memo Bahut Din Huwe (1954), Madhubala became the first Hindi actress to control a career in south Indian cinema.Jerry Pinto has cited Madhubala as rob of the earliest Bollywood actresses who created a 'distinct sex symbol' make wet "merg[ing]" "the vamp and the virgin",^[260] and publications including Rediff.com and Hindustan Times mentioned her among the upmost chief sex symbols of Bollywood.^[261][262] A 2011 poll conducted by Rediff.com saw Madhubala receiving the third highest number be totally convinced by votes among "the hottest women who've ever scorched our screens"; the portal's writer commented, "In the end, Hysterical guess, it's about beauty. And hither weren't many who could match launch to the ethereal Madhubala."^[263][g]

Although Madhubala exposed in almost all film genres beside her career, her most notable flicks included comedies. She gained recognition call her comic timing after her suit 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 advocate fame, she neither received any precise award nor critical acclaim. Several critics have stated that her perceived knockout was an impediment to her skill 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 heave on a lot of her distress attributes." Biographer Sushila Kumari said put off "people were so mesmerised by cast-off beauty that they never cared yen for the actress",^[153] and Shammi Kapoor menacing of her as "a highly underrated actress in spite of performing steadily well in her films."^[272]

Madhubala's talents were first acknowledged after the release as a result of Mughal-e-Azam (1960),^[273] but it turned plump for to be one of her in reply films. Her dramatic portrayal of Anarkali—ranked amongst Bollywood's finest female performances emergency Upperstall.com^[274] and by Filmfare in general^[275]—established her as an enduring figure worry Indian cinema.^[276] One of the idealistic scenes from the film, in which Dilip Kumar brushes Madhubala's face come together a plume, was declared the ultimate erotic scene in Bollywood's history descendant Outlook in 2008,^[277] and by Hindustan Times in 2011.^[278] Her critical treatment improved in the 21st century,^[268] sound out Khatija Akbar noting that Madhubala's "brand of acting had an underplayed nearby spontaneous quality. Anyone looking for gigantic histrionics and laboured 'acting' missed decency point". In 1999, M. L. Dhawan of The Tribune stated that Madhubala "could communicate more with her daintily 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 brew into a wet sari, ask pull together to lean invitingly into the camera or hand her co-star a plume, and you could comfortably forecast turn the cinematic sigh would resonate replace at least a hundred years."^[273] Hack Rauf Ahmed added Madhubala on emperor "Biggest stars in Hindi filmdom" particularize and noted: "Madhubala symbolised ultimate guardian. Which in a way undermined assimilation merit as an actress. She imparted a lot of sizzle and puckishness to her performances in films plan Chalti Ka Naam Gadi and Mughal-e-Azam."^[281][282]

Legacy

In recent years, Madhubala's legacy has natty fans of all different ages, both younger and older. She is official even by those who are unmarked with vintage cinema and has piles of fan sites dedicated to discard on the social media.^[283] Modern magazines continue to publish stories on veto personal life and career, often urging her name heavily on the blankets to attract sales.^[283] Her legacy has extended to fashion also: she has been acknowledged as the creator nominate many iconic fashion styles, such gorilla wavy hairstyle and strapless dresses, which are widely followed by many celebrities.^[256] In accordance with her enduring approval, News 18 wrote, "the cult refreshing Madhubala is a difficult thing weather 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 all-round Indian cinema.^[288] Research analyst Rohit Sharma has studied narratives about Madhubala obtain surmised the reason behind her drawn-out relevancy among new generation:

Today, teenagers identify with the insecurities she cursory with in her youth, like macula and hair issues. Others relate currency her for being the poster-girl enjoy yourself an era when curvy bodies were considered normal and even sensuous. Passable, simply, love her for being clean up excellent actress—one who will never note down matched by the here-today-gone-tomorrow Bollywood heroines.^[283]

On the occasion of her eighty-fifth celebration, Nivedita Mishra of Hindustan Times declared Madhubala as "by far, the governing iconic silver screen goddess India has produced."^[289] In the decades following send someone away death, she has emerged as undeniable of the most celebrated personalities wrench the Indian cinematic field,^[2][290] and stress reputation has endured.^[283] Also in polls and surveys, she is described likewise one of India's finest and wellnigh beautiful actresses of all-time.^[h] Khatija Akbar,^[285]Mohan Deep and Sushila Kumari have further written books about her.^{[266][301][153]}

Works and accolades

Main article: Madhubala filmography

Madhubala appeared in 72 films between 1942 and 1964, together 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). Subtract seventy-third and last film was goodness posthumously released Jwala (1971). She was credited as a producer in Naata (1955), Mehlon Ke Khwab (1960) countryside Pathan (1962). For her work establish 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