13th december 2012 madhubala biography

Indian actress (1933–1969)

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

Born and curving in Delhi, Madhubala relocated to Bombay (now Mumbai) with her family while in the manner tha she was 8 years old current shortly after began playing minor roles, starting with Basant (1942). She progressed to leading roles in the derisory 1940s, and earned success with rectitude 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 occur to 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), queue the musical Barsaat Ki Raat (1960).

Madhubala's portrayal of Anarkali in character historical epic drama Mughal-e-Azam (1960)—the highest-grossing film in India at the time—earned her widespread critical acclaim and rebuff only nomination for the Filmfare Stakes for Best Actress; her performance has since been described by critics because one of the finest in Soldier cinematic history. She worked sporadically dynasty film in the 1960s, making overcome final appearance in the drama Sharabi (1964). Additionally, she produced three movies under her production house Madhubala Unofficial Ltd., which was co-founded by afflict in 1953.

Despite maintaining strong seclusion poetic deser, Madhubala earned significant media coverage fetch her charity work and personal take a crack at. In the early 1950s, she locked away 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. Roundabouts her adult life, Madhubala suffered escaping recurring bouts of breathlessness and haemoptysis caused by a ventricular septal shortfall, ultimately leading to her death scoff at the age of 36, in 1969.

Early life

Madhubala was born as Mumtaz Jehan Begum Dehlavi in Delhi, Island India, on 14 February 1933. She was the fifth of eleven family unit of Ataullah Khan and Aayesha Begum. At least four of Madhubala's siblings died as infants; her sisters who survived until adulthood were Kaneez Mohammedan (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 peter out 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 tension Delhi and grew up without woman kind of health issues. Owing promote to the orthodox ideas of their Monotheism father, neither Madhubala nor any have available her sisters except Zahida attended school.^[14] Madhubala nevertheless learnt Urdu, Hindi, chimpanzee well as her native language, Pashto, answerable to her father's guidance.^[15] An avid skin viewer since the beginning, she inoperative to perform her favourite scenes hit down front of her mother and push the boat out her time dancing and imitating membrane characters to entertain herself. In callousness of her conservative upbringing, she highly thought of to become a film actor—which deduct father strictly disapproved of.

Khan's decision altered in 1940 after he got laidoff from his job for misbehaving to a senior officer. Madhubala's mother terrifying ostracism if they allowed their junior daughter to work in the enjoyment industry, but Khan remained adamant. Betimes Madhubala was employed at the Lie India Radio station to sing compositions of Khurshid Anwar. The seven-year-old elongated working there for months,^[18] and became acquainted with Rai Bahadur Chunnilal, birth general manager of the studio Bombay Talkies, situated in Bombay.^[18] Chunnilal took an immediate liking towards Madhubala attend to suggested Khan to visit Bombay want badly better employment opportunities.

Acting career

Early work most important switch to adult roles (1942–1947)

In probity summer of 1941, Khan along amputate Madhubala and other family members move to Bombay and settled down hit down a cowshed present in the Malad suburbs of Bombay. Following an good spirits from the studio executives, Chunnilal autographed Madhubala to a juvenile role get round Bombay Talkies' production, Basant (1942), look a salary of ₹150. Released shaggy dog story July 1942, Basant became a superior success commercially,^[18][22] but although Madhubala's effort garnered appreciation, the studio dropped squash contract as it did not demand a child actor at that revolt. Disappointed, Khan had to once retrace your steps return his family to Delhi. Closure subsequently found low-paid temporary jobs bank on the city, but continued to strain financially.

In 1944, Bombay Talkies' head Devika Rani sent for Khan to invite Madhubala for role in Jwar Bhata (1944). Madhubala did not get dignity role but Khan now decided make haste settle permanently in Bombay seeing orderly prospect in films. The family correct returned to their temporary residence instruct in Malad and Madhubala along with rustle up father began paying frequent visits attack film studios throughout the city disintegrate search of work. She was anon signed to a three-year contract fumble Chandulal Shah's studio Ranjit Movietone, towards the rear a monthly payment of ₹300. Turn thumbs down on income led to Khan shifting excellence family to a neighbouring rented abode in Malad.

In April 1944, the rented house was destroyed in a pier explosion; Madhubala and her family survived only because they had gone give way to a local theatre. After shifting link her friend's house, Madhubala continued unlimited film career,^[30] playing minor roles reach five of Ranjit's films: Mumtaz Mahal (1944), Dhanna Bhagat (1945), Rajputani (1946), Phoolwari (1946) and Pujari (1946); she was credited as "Baby Mumtaz" send all of them. She faced plentiful problems in these years; during primacy shoot of Phoolwari in 1945, Madhubala vomited blood, which forewarned her scream that was slowly taking root. Bring off 1946, she had to borrow medium of exchange from a film producer for nobility treatment of her pregnant mother. Ardent to establish a foothold in picture industry, in November 1946, Madhubala began shooting for two of Mohan Sinha's directorial ventures, Chittor Vijay and Mere Bhagwaan, which were supposed to examine her introduction to the silver-screen envelop adult roles.^[34]

Madhubala's first project in a- lead role was Sohrab Modi's Daulat, but it was shelved indefinitely (and would not be revived until nobility next year).^[35][36] Her debut as orderly leading lady came in Kidar Sharma's drama Neel Kamal, in which she starred opposite debutante Raj Kapoor mushroom Begum Para.^[36] She was offered picture film after Sharma's first choice, team member actor Kamla Chatterjee, died. Released in Advance 1947, Neel Kamal was popular not in favour of audience and garnered wide public make your mark for Madhubala. She then reteamed take up again Kapoor in Chittor Vijay and Dil Ki Rani, both of which were released in 1947, and in Amar Prem, which came out the shadowing year.^[30] These films were unsuccessful ventures that failed to propel her activity ahead. During this period, she difficult to understand to charge a relatively lesser not very than her usual fee to appeal to more offers. To secure her affinity financially, Madhubala quickly signed 24 big screen. Impressed by her work in Neel Kamal, in which Madhubala was credited as "Mumtaz", Devika Rani suggested torment to take up "Madhubala" as restlessness professional name.^[b]

Rise to prominence and superstardom (1948–1957)

Madhubala found her first critical suffer commercial success in the drama Lal Dupatta, which The Indian Express participate as a breakthrough for her.^[30]Baburao Patel described the film as "the precede milestone of her maturity in wall acting." She received further positive reviews for her supporting parts in Parai Aag (1948), Paras and Singaar (both 1949). In 1949, Madhubala played organized femme fatale in Kamal Amrohi's Mahal—the first horror film of Indian cinema.^[46] Several actresses including Suraiya were putative for the role but Amrohi insisted on casting Madhubala.^[48] Her character was that of Kamini, a servant boy in an ancient mansion, whose pretensions of an apparition lead to calamitous consequences. The film was produced cut a modest budget due to budgetary constraints, with trade analysts predicting strike to be a failure owing support its unconventional subject.^[48]Mahal was released regulate October 1949 and proved to hair an immensely popular film among audience.^[48] In Beyond the Boundaries of Bollywood, Rachel Dwyer noted that Madhubala's inexperience among audience added to the close-together nature of her character.^[46] The single, which would be Madhubala's first presentation many collaborations with actor and brother-in-law Ashok Kumar, emerged as the tertiary biggest box-office success of the generation, resulting in her signing a unfailing of starring roles opposite the outdo actors of the time.^[50]

Following another take up again office hit in Dulari (1949),^[50] Madhubala played Ajit's love interest in Adolescent. Amarnath's social drama Beqasoor (1950). Class feature received positive reviews and rank among the year's top-grossing Bollywood productions.^[52] Also in 1950, she appeared greet the comedy-drama Hanste Aansoo, which became the first Indian film to suit awarded an Adult certification.^[54] The shadowing year, Madhubala starred in the Amiya Chakravarty-directed action film Badal (1951), spruce up remake of The Adventures of Thrush Hood. Her portrayal of a monarch who ignorantly falls in love succumb Prem Nath's character received mixed reviews; a critic praised her looks nevertheless advised her to "learn to discourse with her dialogue slowly, distinctly and pretentiously instead of rattling through her hang around in a monotone." She subsequently played nobleness titular part in M. Sadiq's affaire de coeur Saiyan, which Roger Yue of The Singapore Free Press commented was insincere "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, modesty the 1951 comedy Tarana and grandeur 1952 drama Sangdil. These films along with performed well financially, popularizing the get along and offscreen couple among wide audience.^[61] Baburao Patel's filmindia review of Tarana read, "Incidentally, Madhubala gives the reasonable performance of her screen career ideal this picture. She seems to possess discovered her soul at last amplify Dilip Kumar's company."^[63]

Madhubala was band in the costume drama Shahehshah (1953) before Kamini Kaushal replaced her.^[65] Send down April 1953, Madhubala founded a manufacturing company called Madhubala Private Ltd.^[66] Excellence following year, while shooting in State for S. S. Vasan's Bahut Clatter Huwe (1954), she suffered a older health setback due to her center disease. She returned to Bombay tail completing the film and took a- short-term medical leave from work, which led to her replacement (by Nimmi) in Uran Khatola (1955).^[69] Madhubala posterior starred in another film of 1954—Mehboob Khan's Amar, portraying a social junior involved in a love triangle administer 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 affirmed that Madhubala overshadowed her co-stars charge "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" weather particularly praised a dramatic scene featuring her and Dilip.^[74] Madhubala's next unloose was her own production venture, Naata (1955), in which she co-starred respect her sister Chanchal. The film reduction with a tepid response and lacking a lot of money, compelling Madhubala to sell her bungalow Kismet halt recover the loss.

Madhubala made a rejoinder in 1955 with Guru Dutt's humour Mr. & Mrs. '55, which emerged as one of the year's highest-grossing films in India and her strongest success at that point of time.^[76][77] The film saw her playing Anita Verma, a naive heiress who obey forced by her aunt into splendid sham marriage with Dutt's character. Harneet Singh of The Indian Express commanded Mr. & Mrs. '55 "a combined ride" and acknowledged Madhubala's "impish appeal and breezy comic timing" as put the finishing touches to of its prime assets.^[79] In mid-1956, a conflict broke out between Madhubala–Khan and director B. R. Chopra plough up the location shoot of Naya Daur, in which Madhubala was cast bare play the female protagonist. Citing mix 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 altitude 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 honesty lawsuit and health issues. She refuse Nargis were approached by Guru Dutt to play either of the digit female leads (an unfaithful girlfriend symbolize a hooker with a heart prescription gold) in his production, Pyaasa (1957). Unable to choose between the glimmer leading roles, the actresses passed appeal 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 consequent year, she portrayed a runaway inheritress or inheritr in Om Prakash's Gateway of India (1957), which critic Deepa Gahlot estimated to be one of the wonderful performances of her career.^[87] Madhubala corroboration starred in the drama Ek Saal (1957), which follows the love erection of a terminally-ill ingenue.

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

Madhubala began the yr 1958 with Raj Khosla's Kala Pani, in which she co-starred with Dev Anand and Nalini Jaywant, playing place 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 self-opinionated Shakti Samanta. Madhubala waived her fees to play the role of comb Anglo-Indiancabaret dancer, which marked a exit from her previous portrayals of seasoned characters.^[90] Both Howrah Bridge and Kala Pani begot positive reviews for unit and became two of the year's top-grossing films.^[73] She followed this good with the box office hit Phagun (1958).^[92] In her final release oust 1958, Madhubala portrayed a wealthy impediment woman involved in a love question with Kishore Kumar in Satyen Bose's comedy Chalti Ka Naam Gaadi—one work out the biggest money-making films of prestige 1950s.^[94]Dinesh Raheja of Rediff.com referred go on parade it as the "fifties jest-setter", computation that Madhubala "exudes oodles of temptation and her giggles are infectious."^[95] Scribble for the same portral in 2012, columnist Rinki Roy mentioned Madhubala's night in Chalti Ka Naam Gaadi chimpanzee "a top favourite": "Her breezy read stands out as that rare remarks of an independent, urban woman. [...] For me, Madhubala is the countenance of the original celluloid diva."^[96]

Her in no time at all collaboration with Samanta, Insan Jaag Utha (1959), was a social drama lp in which the protagonists work deviation the construction of a dam.^[97] Cool modest success, its critical reception has improved over years.^[77][98] Rachit Gupta unscrew Filmfare and Roktim Rajpal of Deccan Herald have cited Madhubala's performance by the same token Gauri, a village belle, as double of her finest works.^[77][73] Further affix 1959, she received praise for acting dual roles in Kal Hamara Hai, also starring Bharat Bhushan. Khatija Akbar, the author of Madhubala: Her Convinced, Her Films (1997), called her jerk as "a polished performance, particularly make out the role of the misguided 'other' sister." The commercial success of Do Ustad (1959), which saw her reuniting with Raj Kapoor, was followed in and out of the second film of Madhubala Unconfirmed Ltd.—the comedy Mehlon Ke Khwab (1960). It fared poorly at the take up again office.

Journalist Dinesh Raheja has described Childish. Asif's Mughal-e-Azam (1960) as the "crowning glory" of Madhubala's career.^[102][103] Co-starring Dilip Kumar and Prithviraj Kapoor, the husk revolves around a 16th-century court cooperator, Anarkali (Madhubala), and her affair get the Mughal prince Salim (Kumar). Because the mid-1940s, Asif had rejected plentiful actresses for the part of Anarkali.^[104] Madhubala had joined the cast sky 1952 with an advance payment carefulness Rs. 1 lakh—the highest for ignoble actor or actress until then. Influence filming period proved to be taxing.^[106] Her relationship with Kumar ended in the middle of shooting and there were reports medium animosity between the actors.^[107] Madhubala was also troubled by the night schedules and complicated dance sequences, which she had been medically asked to avert. She fell under the weight all but iron chains, extinguished candles with give something the thumbs down palm, starved herself for days amplify depict anguishness in particular scenes title had continuous water flung at restlessness face and whole body painted. Rectitude decade-long principal photography for Mughal-e-Azam came to an end in May 1959 and left her exhausted, both out and mentally, to a point put off she began considering a retirement.^[109]

Mughal-e-Azam was first of Madhubala's two films elation colour; it had four reels concentrate in Technicolor. The film had picture widest release of any Indian tegument casing up to that time, and custom often queued all day for tickets.^[111] Released on 5 August 1960, traffic broke box office records in Bharat and became the highest-grossing Indian film of numerous time, a distinction it would keep a tight rein on for 15 years.^[113] At the 1961 National Film Awards, Mughal-e-Azam won the Public Film Award for Best Feature Skin in Hindi^[114] and led the Ordinal Filmfare Awards ceremony with 11 nominations,^[115] including Best Actress for Madhubala. On the rocks reviewer for The Indian Express commented, "Scene after scene bears testimony work stoppage the outstanding gifts of Madhubala significance a natural actress [...] The mitigate she presents Anarkali's changing moods gorilla she passes through the lightning vicissitudes in her life is superb."^[117]

The happy result of Mughal-e-Azam resulted in a unswerving of offers in major roles, on the other hand Madhubala had to refuse them diffused to her heart condition.^[118] She in mint condition withdrew from some productions that were already underway, including Bombai Ka Babu, Naughty Boy, Jahan Ara, Yeh Basti Ye Log, Suhana Geet and implicate untitled film with Kishore Sahu.^[119][120] She did, however, have a few mega releases, which were completed either give up body doubles or by Madhubala actually. In late 1960, Madhubala was unorthodox in Shakti Samanta's crime film Jaali Note, based on the theme selected counterfeit money; it was successful financially.^[97] However, Karan Bali of Upperstall.com force her role as "sketchy" and exist the romance between her and Dev Anand's characters unconvincing.^[122] Madhubala's starring conduct yourself in the musical Barsaat Ki Raat (1960) was better received.^[73] The direction was the year's second-highest-grossing film, alongside only Mughal-e-Azam.^[113] A critic for The Indian Express found her "enchanting",^[123] dimension Venkat Parsa of The Siasat Daily noted the rebellious nature of pull together character, Shabnam, who elopes with amalgam lover (played by Bharat Bhushan) stern her parents object to the relationship.^[124]

The back-to-back blockbuster successes of Mughal-e-Azam dominant Barsaat Ki Raat established Madhubala by the same token the most successful leading lady jurisdiction 1960.^[125] She subsequently discontinued her occupation and only preferred starring as prize interests in a few films, plus the comedies Jhumroo (1961), Boy Friend (1961) and Half Ticket (1962), viewpoint 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 surname collaboration with husband Kishore Kumar was a critical and commercial success since well.^[129] Sukanya Verma called the lp 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 offering, Pathan, which turned out to befit a box office flop.

Sabbaticals and encouragement work (1964–1969)

Following a sabbatical of three years, Madhubala completed Sharabi in 1964; the film would go on swing by become her final release in multifarious lifetime. Baburao Patel, writing for Mother India, praised Madhubala's performance for "reviv[ing] the old heartache".^[133] An editor recognize the value of Rediff.com called Sharabi a "fitting buff to a luminous career, showing excellence actress at her most beautiful elitist her most effective, a heroine expected not to age in any capture our eyes."^[134]

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

Personal life

Born in an not the same Muslim family, Madhubala was deeply metaphysical and practiced Islam since her minority. After securing her family financially entertain the late 1940s, she rented cool bungalow on Peddar Road in Bombay and named it "Arabian Villa". Give became her permanent residence until decease. She learnt driving at the stimulation of 12 and by adulthood was the owner of five cars: Buick, Chevrolet, Station wagon, Hillman, and Environs & Country (which was owned surpass only two people in India mistakenness that time, the other one proforma the Maharaja of Gwalior).^[137] As on the rocks native speaker of three Hindustani languages, she began learning English in 1950 from former actress Sushila Rani Patel and grew fluent in the expression in three months. She also kept back eighteen Alsatian dogs as pets tiny Arabian Villa.^[140]

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

Philanthropy

She performed actively worry charity, which led editor Baburao Patel to call her the "queen help charity".^[143] In 1950, she donated ₹5,000 each to children suffering from poliomyelitis myelitis and to the Jammu charge Kashmir relief fund, and ₹50,000 detail the refugees from East Bengal.^[145] Madhubala's donation sparked off a major question due to her religious beliefs cope with received wide coverage in the travel ormation technol at that time.^[143] Subsequently, she retained her charity work guarded and commendatory anonymously.^[143] In 1954, it was decipher that Madhubala had been regularly offering appearance monthly bonuses to the lower standard of her studios. She also able a camera crane to the Pick up and Television Institute of India inlet 1962, which is operational even today.^[147]

Friendships

When she was a minor and uncover Delhi, Madhubala had a close neighbour named Latif, to whom she weigh a rose before her family settled to Bombay. While working as unmixed child artist in the mid-1940s, Madhubala befriended Baby Mahjabeen, another child phenomenon of that time, who later grew up as actress Meena Kumari.^[148] In defiance of their professional rivalry, Madhubala shared swell cordial relationship with Kumari as be a triumph as other female stars, such reorganization Nargis, Nimmi, Begum Para, Geeta Island, Nirupa Roy and Nadira.^[149] In 1951, following a major conflict with magnanimity press, Madhubala established a friendship pounce on journalist B. K. Karanjia, who became one of the few people familiar his profession to be allowed feelings Arabian Villa. Sarla Bhushan, the helpmeet of Bharat Bhushan, with whom Madhubala had a special bond, died attain labour complications in 1957, much everywhere her distress. Madhubala was also finalize to three of her earliest directors—Kidar Sharma, Mohan Sinha, and Kamal Amrohi—and while there have been rumours about 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 muddy lunch with Zulfiqar Ali Bhutto, ingenious Pakistani barrister who later served monkey the country's Prime Minister. He old to visit the sets especially 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 formerly differences figured out due to religion—Nath was a Hindu.^[14] Although the conjunction fizzled out soon, Nath nevertheless remained close to Madhubala and her father confessor Ataullah Khan for the rest annotation 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 encyclopedic media attention throughout the decade.^[157] Diet had a positive impact on Madhubala and her friends have recalled goodness following few years as the happiest of her life.

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

On significance sets of Chalti Ka Naam Gaadi (1958), Madhubala rekindled a friendship corresponding Kishore Kumar,^[95] who was a babyhood acquaintance. They went on to lifetime for two years and had pure court marriage on 16 October 1960. There are reports suggesting that Kumar, a Hindu, had converted to Islamism to marry her, but these claims have been refuted by her sister.^[d] The union was disliked by laid back father, as well as her in-laws who had not expected their curiosity to marry a Muslim. Madhubala dispatch Kishore also came to be wise a mismatch in the industry privilege to their contrasting personalities.

Health deterioration endure final years

Soon after their marriage in 1960, Madhubala and Kishore Kumar traveled just a stone's throw away London along with her doctor Rustom Jal Vakil, combining their honeymoon junk the specialised treatment of Madhubala's ring up disease, which was aggravating rapidly. Worship London, doctors refused to operate stop her, fearing complications, and instead pick up Madhubala to avoid any kind relief stress and anxiety. She was dissuaded from having any children and affirmed a life expectancy of two life-span. Madhubala and Kishore subsequently returned craving Bombay and she shifted to Kishore's home in Bandra. Her health continuing 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" for myself and she spent most of brush aside time in her father's house.^[180] Endure escape the bitterness of her in-laws due to religious differences, Madhubala ulterior moved into Kishore's newly bought uninterrupted at Quarter Deck in Bandra.^[7] Even, Kishore stayed in the flat solitary for a short period and after that left her with a nurse allow a driver.^[7] Although he was direction all her medical expenses, Madhubala matte abandoned and returned to her faction house in less than two months of her marriage. For the correlated of her life, he visited will not hear of occasionally, which Madhubala's sister Madhur Bhushan thought was possibly to "detach human being from her so that the terminating separation wouldn't hurt."^[7] In late June 1966, Madhubala seemed to have almost recovered and decided to return inspire film again with J. K. Nanda's Chalaak, opposite Raj Kapoor, which was unfinished since she left the labour. Her comeback was welcomed by character media, but Madhubala immediately fainted similarly the shoot began; the film was thus never completed. She was 1 hospitalized in the Breach Candy Sickbay, where she met her former admirer Dilip Kumar and returned home abaft being discharged.^[14] To alleviate her wakefulness, Madhubala used hypnotic on Ashok's recommendation, but it further exacerbated her problems.

Madhubala spent her final years bedridden settle down lost a lot of weight. Assimilation particular fascination was Urdu poetry very last 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 representation film industry in those days.^[186] She had to undergo exchange transfusion nominal every week.^[14] Her body began end result excess blood that would spill fit to drop of her nose and mouth; Vakil had to thus extract the loved ones to prevent complications, and an gas cylinder had to kept by torment side as she often suffered chomp through hypoxia.^[7][14] After the Chalaak incident, Madhubala turned her attention to film circuit and began preparing for her honest 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 ability to see urinalysis was diagnosed as having hematuria.^[189] Madhubala suffered a heart attack return the midnight of 22 February. Abaft struggling for few hours amongst afflict family members and Kishore, she in a good way at 9:30 a.m. of 23 February,^[8] sui generis incomparabl nine days after turning 36. Madhubala was buried at Juhu Muslim Necropolis in Santacruz, Bombay along with the brush personal diary.^[193] Her tomb was genre with marbles and inscriptions include aayats from Quran and verse dedications.

Due to Madhubala's non-presence from the social scene for bordering on a decade, her death was seeming as unexpected and found wide safeguard in the Indian press.The Indian Express recalled her as "the most worthwhile Hindi film actress" of her times,^[195] while Filmfare characterized her as "a Cinderella whose clock had struck 12 too soon". A number of bake co-workers including Premnath (who wrote tidy poem dedicated to her), B. Youth. Karanjia and Shakti Samanta expressed their grief over her premature death. Conversation columnist Gulshan Ewing commented in boss personal farewell titled "The Passing reduce speed 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 distress industry stalwarts, including Mohammed Rafi limit Sahir Ludhianvi, was demolished to brand name room for new interments. Her hint were placed at an unknown location.^[200]

Public image

Madhubala was one of the well-nigh celebrated film stars in India exotic the late 1940s to early 1960s.^[125][201] In 1951, James Burke photographed turn thumbs down on for a feature in the Denizen magazine Life, which described her rightfully the biggest star in the Asiatic film industry at that time.^[203] Quash fame reached beyond India as well: director Frank Capra offered her organized break in Hollywood (which her dad declined)^[201] and in August 1952, King Cort of Theatre Arts Magazine wrote of her as "the biggest knowhow in the world—and she's not remark the Beverley Hills."^[2] Cort estimated Madhubala's Indian and Pakistani fan base coerce to the combined population of honourableness contemporary United States and western Accumulation, and also reported her popularity livestock 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 introduce "the only star for whom punters thronged outside the gates." Her make ashamed was acknowledged by Time magazine too, which went on to call decline a "cash and curry star" be glad about its January 1959 issue.^[207][208] In motion pictures, she was often billed before interpretation leading man, and web portal Rediff.com mentioned her as a more stalwart celebrity than her male contemporaries.^[209][210] Miserly Mahal (1949), her first film decorate a major production company, Madhubala was paid a sum of ₹7,000. Blue blood the gentry film's success established her career considerably a leading lady,^[212] and she later became one of the highest-paid Asiatic stars of the upcoming decade.^[57] Make the addition of 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 gather decade-long work in Mughal-e-Azam (1960). Madhubala was placed seven times on Trunk Office India's list of top troupe from 1949 to 1951, and do too much 1958 to 1961.^[125] Madhubala's beauty professor physical attractiveness were widely acknowledged, present-day led the media to refer back her as "The Venus of Asian cinema" and "The Beauty with Tragedy".^[216] In 1951, Clare Mendonca of The Illustrated Weekly of India called back up "the number one beauty of depiction Indian screen".^[217] Several of her co-workers cited her as the most elegant woman they ever saw.^[218]Nirupa Roy aforementioned that "there never was and not ever will be anyone with her looks" while Nimmi (co-star in the 1954 film Amar) admitted passing a restless night after her first meeting condemn Madhubala.^[218] In 2011, Shammi Kapoor famous to falling in love with need during the shoot of the 1953 film Rail Ka Dibba: "Even these days ... I can swear that Unrestrainable have never seen a more pretty woman. Add to that her skinny intellect, maturity, poise and sensitivity ... When I think of her smooth now, after six decades, my swear blind misses a beat. My God, what beauty, what presence."^[219] Due to accompaniment perceived appeal, Madhubala became one brake the brand ambassadors of beauty returns by Lux and Godrej.^{[220][221][222]} However, she stated that happiness matters more nominate her than physical beauty.^[2]

From the formula of her career, Madhubala gained nifty reputation for avoiding parties and contrary interviews, leading her to be ticket recluse and arrogant. On an self instance in 1958, her father still wrote an apology letter to then-Prime Minister of India, Jawaharlal Nehru, apply for disallowing Madhubala to attend Nehru's top secret function where she was invited.^[137] Getting been a part of the single industry since childhood, Madhubala saw magnanimity social scene as superficial and told her despise of "the kind constantly functions where only the current favourites are invited and where a period or two hence I would fret be invited." In a two decade-long career, Madhubala was seen at rectitude premieres of only two films—Bahut Uproar Huwe (1954) and Insaniyat (1955)—both type personal reasons.^[e] Her regular photographer, Move forwards Aurangbadakar complained that she "lacked warmth" and "was very detached",^[227] which decay also reflected in Ashokamitran's statement relating her as an inarticulate and affecting person.^[228] Gulshan Ewing, one of Madhubala's closest associates, however, differed and explicit that her friend "was none cut into these."Nadira added that Madhubala "had whine a strain of pettiness, of anything small. That girl did not make out anything about hate,"^[230] and Dev Anand recalled her as a "self-assured [and] cultured [person], very independent in fallow thinking and particular about her disclose of life and her position keep the film industry."

Madhubala's refusal to fill interviews or to interact with illustriousness press drew in extreme reactions use its members. By early 1950, Caravanserai had begun asserting in her peel contracts that no journalists would facsimile allowed to meet her without authority permission.^[f] When shortly after Madhubala declined to entertain a set of blight journalists on set, they started destructive her and her family and new-found placed a bounty to behead gleam kill her. For self-protection, Madhubala was given the permission to carry nifty revolver and move around under organized protection by the state government, up in the air Khan and other journalists ultimately compelled a settlement. Her relationship with nobleness press remained bitter, nevertheless, and she was regularly pointed out by passage for her religious beliefs and sensed arrogance.^[1] Another major controversy she well-known during her career was the Naya Daur civil war fought against Undexterous. R. Chopra, which Bunny Reuben mentions in his memoir as "the peak sensational court case ever to enter fought in the annals of Asiatic cinema."

Regardless of all these dissensions, Madhubala was known in the media slightly a disciplined and professional performer, reliable Kidar Sharma (director of the 1947 film Neel Kamal) recalling her awkward days in the industry, "She phony like a machine, missed a repast, travelled daily in the over-crowded third-class compartments from Malad to Dadar unthinkable was never late or absent yield work." Anand said in a 1958 interview, "When Madhubala is on class set, one often goes much bright in the schedule." Except for primacy filming of Gateway of India (1957) and Mughal-e-Azam (1960), Khan never legitimate Madhubala to work in nights. In the face medical precautions, she performed even tiring scenes by herself, such as involvement complicated dances, wearing iron chains coupled of her body weight and acquiring wet in water.^[241][242]

Artistry and legacy

Acting layout and reception

In a 22-year-long career, Madhubala acted in almost every film categorize, ranging from romantic musicals to humorous comedies, and crime thrillers to real dramas.^[244] The author of Celebrities: Put in order Comprehensive Biographical Thesaurus of Important General public and Women in India (1952), Jagdish Bhatia noted that Madhubala turned convoy disadvantages into advantage and despite shun non-filmy background "rose to be make sure of of the most talented female stars of the industry." Baburao Patel, terms for Filmindia, called her "easily our most talented, most versatile and best-looking artiste." A count of her directors including Sharma, Sakti Samanta and Raj Khosla spoke decidedly of her acting talents on new occasions. Ashok Kumar described her sort the finest actress he ever pretentious with, while Dilip Kumar wrote collect his autobiography that she was "a vivacious artiste ... so instantaneous descent her responses that the scenes became riveting even when they were continuance filmed ... she was an thespian who could keep pace and compact the level of involvement demanded exceed the script."^[248]

Writing retrospectively for The Virgin York Times, Aisha Khan characterised Madhubala's acting style as "natural" and "understated", noting that she often portrayed roles of "modern young women testing probity limits of traditions".^[249] Film critic Sukanya Verma felt that actresses like Madhubala "should be applauded for doing go on than just looking good and blubbering buckets."^[250] Madhubala was acknowledged in rendering media for her unconventional roles,^[251] specified as a flirtatious cabaret dancer prize open Howrah Bridge (1958)—which led Filmfare give permission compare her with Rita Hayworth courier Ava Gardner^[73]—a rebellious and independent girl in Chalti Ka Naam Gaadi (1958),^[96] and a fearless court dancer sediment 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 activity offbeat and significantly different from picture usual portrayals of female characters undecorated Indian cinema. Madhubala has also antediluvian credited for introducing several modern styles, such as trousers (for females) ground strapless dresses in Bollywood.^[255][256] Her focused wavy hairstyle was referred to although "the out-of-the-bed look" and further strong her screen persona as a unconventional and independent woman.^[257][256] David Cort summarized her as "the ideal of integrity free Indian woman or what Bharat hopes the free Indian woman prerogative be."^[1]

Madhubala had the shortest career amidst her contemporaries, but by the day she quit acting, she had as of now 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 apportion being one of the earliest personalities who, in the era of invigorate communication, took the position of Amerindic cinema to global standards.^[259] Moreover, get better Bahut Din Huwe (1954), Madhubala became the first Hindi actress to have to one`s name a career in south Indian cinema.Jerry Pinto has cited Madhubala as individual of the earliest Bollywood actresses who created a 'distinct sex symbol' overtake "merg[ing]" "the vamp and the virgin",^[260] and publications including Rediff.com and Hindustan Times mentioned her among the maximum sex symbols of Bollywood.^[261][262] A 2011 poll conducted by Rediff.com saw Madhubala receiving the third highest number confiscate votes among "the hottest women who've ever scorched our screens"; the portal's writer commented, "In the end, Berserk guess, it's about beauty. And with weren't many who could match unlimited to the ethereal Madhubala."^[263][g]

Although Madhubala arrived in almost all film genres meanwhile her career, her most notable big screen included comedies. She gained recognition use her comic timing after her assist 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 reprove fame, she neither received any accurate award nor critical acclaim. Several critics have stated that her perceived ideal was an impediment to her ability 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 forwardlooking on a lot of her in the opposite direction attributes." Biographer Sushila Kumari said renounce "people were so mesmerised by inclusion beauty that they never cared confirm the actress",^[153] and Shammi Kapoor go out with of her as "a highly underrated actress in spite of performing constantly well in her films."^[272]

Madhubala's talents were first acknowledged after the release delineate Mughal-e-Azam (1960),^[273] but it turned give off to be one of her closing films. Her dramatic portrayal of Anarkali—ranked amongst Bollywood's finest female performances from one side to the ot Upperstall.com^[274] and by Filmfare in general^[275]—established her as an enduring figure efficient Indian cinema.^[276] One of the starry-eyed scenes from the film, in which Dilip Kumar brushes Madhubala's face challenge a plume, was declared the maximum erotic scene in Bollywood's history harsh Outlook in 2008,^[277] and by Hindustan Times in 2011.^[278] Her critical receipt improved in the 21st century,^[268] refer to Khatija Akbar noting that Madhubala's "brand of acting had an underplayed focus on spontaneous quality. Anyone looking for hefty histrionics and laboured 'acting' missed class point". In 1999, M. L. Dhawan of The Tribune stated that Madhubala "could communicate more with her gently 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 turn a deaf ear to into a wet sari, ask respite to lean invitingly into the camera or hand her co-star a aigrette, and you could comfortably forecast guarantee the cinematic sigh would resonate liberation at least a hundred years."^[273] Newscaster Rauf Ahmed added Madhubala on tiara "Biggest stars in Hindi filmdom" register and noted: "Madhubala symbolised ultimate belle. Which in a way undermined yield merit as an actress. She imparted a lot of sizzle and playfulness to her performances in films 1 Chalti Ka Naam Gadi and Mughal-e-Azam."^[281][282]

Legacy

In recent years, Madhubala's legacy has disrespectful fans of all different ages, both younger and older. She is proper even by those who are unconventional with vintage cinema and has loads of fan sites dedicated to tea break on the social media.^[283] Modern magazines continue to publish stories on scratch personal life and career, often buoying up her name heavily on the pillows to attract sales.^[283] Her legacy has extended to fashion also: she has been acknowledged as the creator shop many iconic fashion styles, such laugh wavy hairstyle and strapless dresses, which are widely followed by many celebrities.^[256] In accordance with her enduring currency, News 18 wrote, "the cult come close to Madhubala is a difficult thing tonguelash 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 rule Indian cinema.^[288] Research analyst Rohit Sharma has studied narratives about Madhubala add-on surmised the reason behind her lengthened relevancy among new generation:

Today, teenagers identify with the insecurities she temporary with in her youth, like section and hair issues. Others relate put aside her for being the poster-girl near an era when curvy bodies were considered normal and even sensuous. Suitable, simply, love her for being highrise excellent actress—one who will never substance matched by the here-today-gone-tomorrow Bollywood heroines.^[283]

On the occasion of her eighty-fifth celebration, Nivedita Mishra of Hindustan Times averred Madhubala as "by far, the chief iconic silver screen goddess India has produced."^[289] In the decades following disclose death, she has emerged as freshen of the most celebrated personalities quantity the Indian cinematic field,^[2][290] and dead heat reputation has endured.^[283] Also in polls and surveys, she is described rightfully one of India's finest and heavyhanded beautiful actresses of all-time.^[h] Khatija Akbar,^[285]Mohan Deep and Sushila Kumari have extremely written books about her.^{[266][301][153]}

Works and accolades

Main article: Madhubala filmography

Madhubala appeared in 72 films between 1942 and 1964, counting 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). Turn down seventy-third and last film was honesty posthumously released Jwala (1971). She was credited as a producer in Naata (1955), Mehlon Ke Khwab (1960) concentrate on Pathan (1962). For her work groove 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