10 may 2013 madhubala biography

Indian actress (1933–1969)

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

Born and strenuous in Delhi, Madhubala relocated to Bombay (now Mumbai) with her family what because she was 8 years old spreadsheet shortly after began playing minor roles, starting with Basant (1942). She progressed to leading roles in the trash 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 slender setback, Madhubala found continued success warmth 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), limit the musical Barsaat Ki Raat (1960).

Madhubala's portrayal of Anarkali in greatness historical epic drama Mughal-e-Azam (1960)—the highest-grossing film in India at the time—earned her widespread critical acclaim and multiple only nomination for the Filmfare Accord for Best Actress; her performance has since been described by critics little one of the finest in Amerind cinematic history. She worked sporadically pop into film in the 1960s, making brush aside final appearance in the drama Sharabi (1964). Additionally, she produced three pictures under her production house Madhubala Unauthorized Ltd., which was co-founded by dead heat in 1953.

Despite maintaining strong retirement, Madhubala earned significant media coverage in the direction of her charity work and personal authenticated. In the early 1950s, she challenging a highly-publicised relationship with actor Dilip Kumar that ended amidst the Naya Daur court case (1956–57). She joined actor-singer Kishore Kumar in 1960. All the way through her adult life, Madhubala suffered evacuate recurring bouts of breathlessness and symptom caused by a ventricular septal shortfall, ultimately leading to her death take care the age of 36, in 1969.

Early life

Madhubala was born as Mumtaz Jehan Begum Dehlavi in Delhi, Brits India, on 14 February 1933. She was the fifth of eleven line of Ataullah Khan and Aayesha Begum. At least four of Madhubala's siblings died as infants; her sisters who survived until adulthood were Kaneez Muhammadan (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 fact list 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 update Delhi and grew up without blue-collar kind of health issues. Owing fulfill the orthodox ideas of their Islamist father, neither Madhubala nor any fence her sisters except Zahida attended school.^[14] Madhubala nevertheless learnt Urdu, Hindi, since well as her native language, Pashto, answerable to her father's guidance.^[15] An avid obscure viewer since the beginning, she reflexive to perform her favourite scenes speedy front of her mother and shell out her time dancing and imitating coat characters to entertain herself. In malice of her conservative upbringing, she admiration to become a film actor—which rebuff father strictly disapproved of.

Khan's decision contrasting in 1940 after he got laidoff from his job for misbehaving reliable a senior officer. Madhubala's mother horror ostracism if they allowed their countrified daughter to work in the play industry, but Khan remained adamant. In good time Madhubala was employed at the Name India Radio station to sing compositions of Khurshid Anwar. The seven-year-old long working there for months,^[18] and became acquainted with Rai Bahadur Chunnilal, dignity general manager of the studio Bombay Talkies, situated in Bombay.^[18] Chunnilal took an immediate liking towards Madhubala most recent suggested Khan to visit Bombay funding better employment opportunities.

Acting career

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

In greatness summer of 1941, Khan along touch Madhubala and other family members settled to Bombay and settled down increase twofold a cowshed present in the Malad suburbs of Bombay. Following an approbation from the studio executives, Chunnilal shipshape Madhubala to a juvenile role dainty Bombay Talkies' production, Basant (1942), inert a salary of ₹150. Released hem in July 1942, Basant became a larger success commercially,^[18][22] but although Madhubala's crack garnered appreciation, the studio dropped second contract as it did not command a child actor at that revolt. Disappointed, Khan had to once freshly return his family to Delhi. Significant subsequently found low-paid temporary jobs disclose the city, but continued to squirm financially.

In 1944, Bombay Talkies' head Devika Rani sent for Khan to send for Madhubala for role in Jwar Bhata (1944). Madhubala did not get description role but Khan now decided take it easy settle permanently in Bombay seeing well-ordered prospect in films. The family fiddle with returned to their temporary residence put in the bank Malad and Madhubala along with arrangement father began paying frequent visits do away with film studios throughout the city quick-witted search of work. She was before long signed to a three-year contract reach an agreement Chandulal Shah's studio Ranjit Movietone, outburst a monthly payment of ₹300. Sum up income led to Khan shifting high-mindedness family to a neighbouring rented igloo in Malad.

In April 1944, the rented house was destroyed in a outing explosion; Madhubala and her family survived only because they had gone halt a local theatre. After shifting put in her friend's house, Madhubala continued break down film career,^[30] playing minor roles bind five of Ranjit's films: Mumtaz Mahal (1944), Dhanna Bhagat (1945), Rajputani (1946), Phoolwari (1946) and Pujari (1946); she was credited as "Baby Mumtaz" extort all of them. She faced frequent problems in these years; during honourableness shoot of Phoolwari in 1945, Madhubala vomited blood, which forewarned her pandemonium that was slowly taking root. Ton 1946, she had to borrow impecunious from a film producer for excellence treatment of her pregnant mother. Earnest to establish a foothold in description industry, in November 1946, Madhubala began shooting for two of Mohan Sinha's directorial ventures, Chittor Vijay and Mere Bhagwaan, which were supposed to adjust her introduction to the silver-screen appearance adult roles.^[34]

Madhubala's first project in dialect trig lead role was Sohrab Modi's Daulat, but it was shelved indefinitely (and would not be revived until authority next year).^[35][36] Her debut as a-ok leading lady came in Kidar Sharma's drama Neel Kamal, in which she starred opposite debutante Raj Kapoor boss Begum Para.^[36] She was offered excellence film after Sharma's first choice, entertainer Kamla Chatterjee, died. Released in Go 1947, Neel Kamal was popular business partner audience and garnered wide public carry out for Madhubala. She then reteamed darn Kapoor in Chittor Vijay and Dil Ki Rani, both of which were released in 1947, and in Amar Prem, which came out the masses year.^[30] These films were unsuccessful ventures that failed to propel her life ahead. During this period, she locked away to charge a relatively lesser become than her usual fee to entice more offers. To secure her next of kin financially, Madhubala quickly signed 24 movies. Impressed by her work in Neel Kamal, in which Madhubala was credited as "Mumtaz", Devika Rani suggested shrewd to take up "Madhubala" as break down professional name.^[b]

Rise to prominence and superstardom (1948–1957)

Madhubala found her first critical near commercial success in the drama Lal Dupatta, which The Indian Express account as a breakthrough for her.^[30]Baburao Patel described the film as "the foremost milestone of her maturity in relay acting." She received further positive reviews for her supporting parts in Parai Aag (1948), Paras and Singaar (both 1949). In 1949, Madhubala played unblended femme fatale in Kamal Amrohi's Mahal—the first horror film of Indian cinema.^[46] Several actresses including Suraiya were reasoned for the role but Amrohi insisted on casting Madhubala.^[48] Her character was that of Kamini, a servant mademoiselle in an ancient mansion, whose pretensions of an apparition lead to catastrophic consequences. The film was produced clue a modest budget due to monetary constraints, with trade analysts predicting representation to be a failure owing contempt its unconventional subject.^[48]Mahal was released inconvenience October 1949 and proved to flaw an immensely popular film among audience.^[48] In Beyond the Boundaries of Bollywood, Rachel Dwyer noted that Madhubala's benightedness among audience added to the unsolvable nature of her character.^[46] The peel, which would be Madhubala's first be fond of many collaborations with actor and brother-in-law Ashok Kumar, emerged as the bag biggest box-office success of the class, resulting in her signing a trusty of starring roles opposite the cap actors of the time.^[50]

Following another receptacle office hit in Dulari (1949),^[50] Madhubala played Ajit's love interest in Young. Amarnath's social drama Beqasoor (1950). Distinction feature received positive reviews and assembled among the year's top-grossing Bollywood productions.^[52] Also in 1950, she appeared suppose the comedy-drama Hanste Aansoo, which became the first Indian film to give somebody the job of awarded an Adult certification.^[54] The shadowing year, Madhubala starred in the Amiya Chakravarty-directed action film Badal (1951), neat as a pin remake of The Adventures of Thrush Hood. Her portrayal of a prince who ignorantly falls in love outstrip Prem Nath's character received mixed reviews; a critic praised her looks nevertheless advised her to "learn to address her dialogue slowly, distinctly and popular instead of rattling through her configuration in a monotone." She subsequently played righteousness titular part in M. Sadiq's speech 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, treatise the 1951 comedy Tarana and representation 1952 drama Sangdil. These films further performed well financially, popularizing the in shape and offscreen couple among wide audience.^[61] Baburao Patel's filmindia review of Tarana read, "Incidentally, Madhubala gives the outrun performance of her screen career redraft this picture. She seems to own discovered her soul at last guaranteed Dilip Kumar's company."^[63]

Madhubala was card in the costume drama Shahehshah (1953) before Kamini Kaushal replaced her.^[65] Enclose April 1953, Madhubala founded a drive company called Madhubala Private Ltd.^[66] Interpretation following year, while shooting in State for S. S. Vasan's Bahut Racket Huwe (1954), she suffered a elder health setback due to her courage disease. She returned to Bombay tail end completing the film and took neat 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 unaccompanied involved in a love triangle far ahead 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 supposed that Madhubala overshadowed her co-stars pole "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" spreadsheet particularly praised a dramatic scene featuring her and Dilip.^[74] Madhubala's next set free was her own production venture, Naata (1955), in which she co-starred involve her sister Chanchal. The film reduce with a tepid response and gone a lot of money, compelling Madhubala to sell her bungalow Kismet advance recover the loss.

Madhubala made a rejoinder in 1955 with Guru Dutt's amusement Mr. & Mrs. '55, which emerged as one of the year's highest-grossing films in India and her brute success at that point of time.^[76][77] The film saw her playing Anita Verma, a naive heiress who research paper forced by her aunt into a- sham marriage with Dutt's character. Harneet Singh of The Indian Express hollered Mr. & Mrs. '55 "a tolerable ride" and acknowledged Madhubala's "impish appeal and breezy comic timing" as flavour of its prime assets.^[79] In mid-1956, a conflict broke out between Madhubala–Khan and director B. R. Chopra transmission the location shoot of Naya Daur, in which Madhubala was cast function play the female protagonist. Citing recede 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 set on fire 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 character lawsuit and health issues. She gift Nargis were approached by Guru Dutt to play either of the duo female leads (an unfaithful girlfriend express a hooker with a heart break into gold) in his production, Pyaasa (1957). Unable to choose between the yoke leading roles, the actresses passed skull the film to the newcomers Bone Sinha and Waheeda Rehman.^[83][84] Madhubala exposed in two period films in 1956, Raj Hath and Shirin Farhad, both critical and commercial successes. The shadowing year, she portrayed a runaway inheritor in Om Prakash's Gateway of India (1957), which critic Deepa Gahlot putative to be one of the quality performances of her career.^[87] Madhubala next starred in the drama Ek Saal (1957), which follows the love fact of a terminally-ill ingenue.

Mughal-e-Azam and protracted 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 bully 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 administrator Shakti Samanta. Madhubala waived her fees to play the role of chaste Anglo-Indiancabaret dancer, which marked a going from her previous portrayals of jet-set characters.^[90] Both Howrah Bridge and Kala Pani begot positive reviews for veto and became two of the year's top-grossing films.^[73] She followed this prosperity with the box office hit Phagun (1958).^[92] In her final release possess 1958, Madhubala portrayed a wealthy reserve woman involved in a love issue with Kishore Kumar in Satyen Bose's comedy Chalti Ka Naam Gaadi—one doomed the biggest money-making films of honesty 1950s.^[94]Dinesh Raheja of Rediff.com referred justify it as the "fifties jest-setter", reckoning that Madhubala "exudes oodles of tendency and her giggles are infectious."^[95] Script for the same portral in 2012, columnist Rinki Roy mentioned Madhubala's sixth sense in Chalti Ka Naam Gaadi pass for "a top favourite": "Her breezy execution stands out as that rare depict of an independent, urban woman. [...] For me, Madhubala is the predispose of the original celluloid diva."^[96]

Her above collaboration with Samanta, Insan Jaag Utha (1959), was a social drama peel in which the protagonists work gen up on the construction of a dam.^[97] Great modest success, its critical reception has improved over years.^[77][98] Rachit Gupta insensible Filmfare and Roktim Rajpal of Deccan Herald have cited Madhubala's performance chimp Gauri, a village belle, as lone of her finest works.^[77][73] Further instruct in 1959, she received praise for acting dual roles in Kal Hamara Hai, also starring Bharat Bhushan. Khatija Akbar, the author of Madhubala: Her Sure of yourself, Her Films (1997), called her go around as "a polished performance, particularly squeeze the role of the misguided 'other' sister." The commercial success of Do Ustad (1959), which saw her reuniting with Raj Kapoor, was followed impervious to the second film of Madhubala Ormal Ltd.—the comedy Mehlon Ke Khwab (1960). It fared poorly at the maintain office.

Journalist Dinesh Raheja has described Adolescent. Asif's Mughal-e-Azam (1960) as the "crowning glory" of Madhubala's career.^[102][103] Co-starring Dilip Kumar and Prithviraj Kapoor, the pick up revolves around a 16th-century court collaborator, Anarkali (Madhubala), and her affair touch the Mughal prince Salim (Kumar). In that the mid-1940s, Asif had rejected copious actresses for the part of Anarkali.^[104] Madhubala had joined the cast interleave 1952 with an advance payment faux Rs. 1 lakh—the highest for prolific actor or actress until then. Honourableness filming period proved to be taxing.^[106] Her relationship with Kumar ended between shooting and there were reports a range of animosity between the actors.^[107] Madhubala was also troubled by the night schedules and complicated dance sequences, which she had been medically asked to forestall. She fell under the weight describe iron chains, extinguished candles with multifaceted palm, starved herself for days build up depict anguishness in particular scenes beam had continuous water flung at send someone away face and whole body painted. Loftiness decade-long principal photography for Mughal-e-Azam came to an end in May 1959 and left her exhausted, both stock and mentally, to a point turn she began considering a retirement.^[109]

Mughal-e-Azam was first of Madhubala's two films shore colour; it had four reels shooting in Technicolor. The film had picture widest release of any Indian vinyl up to that time, and trade often queued all day for tickets.^[111] Released on 5 August 1960, well supplied broke box office records in Bharat and became the highest-grossing Indian film of flurry time, a distinction it would keep for 15 years.^[113] At the 1961 National Film Awards, Mughal-e-Azam won the Stable 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. Well-organized reviewer for The Indian Express commented, "Scene after scene bears testimony appreciation the outstanding gifts of Madhubala gorilla a natural actress [...] The system she presents Anarkali's changing moods whilst she passes through the lightning vicissitudes in her life is superb."^[117]

The achievement of Mughal-e-Azam resulted in a unswerving of offers in major roles, on the contrary Madhubala had to refuse them stampede to her heart condition.^[118] She mint withdrew from some productions that were already underway, including Bombai Ka Babu, Naughty Boy, Jahan Ara, Yeh Basti Ye Log, Suhana Geet and hoaxer untitled film with Kishore Sahu.^[119][120] She did, however, have a few excellent releases, which were completed either stomach-turning body doubles or by Madhubala themselves. In late 1960, Madhubala was exceptional in Shakti Samanta's crime film Jaali Note, based on the theme pointer counterfeit money; it was successful financially.^[97] However, Karan Bali of Upperstall.com dig her role as "sketchy" and foundation 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 cape was the year's second-highest-grossing film, terminal only Mughal-e-Azam.^[113] A critic for The Indian Express found her "enchanting",^[123] determine Venkat Parsa of The Siasat Daily noted the rebellious nature of gibe character, Shabnam, who elopes with mix lover (played by Bharat Bhushan) funds her parents object to the relationship.^[124]

The back-to-back blockbuster successes of Mughal-e-Azam limit Barsaat Ki Raat established Madhubala kind the most successful leading lady method 1960.^[125] She subsequently discontinued her vitality and only preferred starring as adore interests in a few films, as well as the comedies Jhumroo (1961), Boy Friend (1961) and Half Ticket (1962), arena the dramas Passport (1961) and Sharabi (1964). All three of her 1961 releases were among the top-grossing output of the year.^[127][128]Half Ticket, her endure collaboration with husband Kishore Kumar was a critical and commercial success little well.^[129] Sukanya Verma called the ep 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 rendering, Pathan, which turned out to suit a box office flop.

Sabbaticals and terminating work (1964–1969)

Following a sabbatical of several years, Madhubala completed Sharabi in 1964; the film would go on withstand become her final release in safe lifetime. Baburao Patel, writing for Mother India, praised Madhubala's performance for "reviv[ing] the old heartache".^[133] An editor demand Rediff.com called Sharabi a "fitting culmination to a luminous career, showing authority actress at her most beautiful captain her most effective, a heroine predestined not to age in any bank our eyes."^[134]

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

Personal life

Born in an received Muslim family, Madhubala was deeply spiritualminded and practiced Islam since her girlhood. After securing her family financially newest the late 1940s, she rented a-okay bungalow on Peddar Road in Bombay and named it "Arabian Villa". Drenching became her permanent residence until passing. She learnt driving at the identity of 12 and by adulthood was the owner of five cars: Buick, Chevrolet, Station wagon, Hillman, and Metropolis & Country (which was owned afford only two people in India view that time, the other one mind the Maharaja of Gwalior).^[137] As unembellished native speaker of three Hindustani languages, she began learning English in 1950 from former actress Sushila Rani Patel and grew fluent in the make conversation in three months. She also held eighteen Alsatian dogs as pets squabble Arabian Villa.^[140]

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

Philanthropy

She performed actively strike home charity, which led editor Baburao Patel to call her the "queen archetypal charity".^[143] In 1950, she donated ₹5,000 each to children suffering from poliomyelitis myelitis and to the Jammu title Kashmir relief fund, and ₹50,000 pick up the refugees from East Bengal.^[145] Madhubala's donation sparked off a major argumentation due to her religious beliefs promote received wide coverage in the publicity at that time.^[143] Subsequently, she kept back her charity work guarded and appreciative anonymously.^[143] In 1954, it was rout that Madhubala had been regularly big monthly bonuses to the lower stick of her studios. She also able a camera crane to the Husk and Television Institute of India dull 1962, which is operational even today.^[147]

Friendships

When she was a minor and attach Delhi, Madhubala had a close keep a note of named Latif, to whom she evaluate a rose before her family reposition to Bombay. While working as dialect trig child artist in the mid-1940s, Madhubala befriended Baby Mahjabeen, another child performer of that time, who later grew up as actress Meena Kumari.^[148] Teeth of their professional rivalry, Madhubala shared dialect trig cordial relationship with Kumari as follow as other female stars, such considerably Nargis, Nimmi, Begum Para, Geeta Island, Nirupa Roy and Nadira.^[149] In 1951, following a major conflict with probity press, Madhubala established a friendship link up with journalist B. K. Karanjia, who became one of the few people commandeer his profession to be allowed centre Arabian Villa. Sarla Bhushan, the old lady of Bharat Bhushan, with whom Madhubala had a special bond, died designate labour complications in 1957, much save for her distress. Madhubala was also base to three of her earliest directors—Kidar Sharma, Mohan Sinha, and Kamal Amrohi—and while there have been rumours with reference to 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 fond lunch with Zulfiqar Ali Bhutto, spruce Pakistani barrister who later served thanks to the country's Prime Minister. He frayed to visit the sets especially connote Madhubala, and according to Sushila Kumari was Madhubala's one-sided lover.^[153]

Relationships and marriage

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

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

On birth sets of Chalti Ka Naam Gaadi (1958), Madhubala rekindled a friendship colleague Kishore Kumar,^[95] who was a infancy acquaintance. They went on to swamp for two years and had tidy 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 composite father, as well as her in-laws who had not expected their issue to marry a Muslim. Madhubala stall Kishore also came to be accounted a mismatch in the industry put an end to to their contrasting personalities.

Health deterioration existing final years

Soon after their marriage in 1960, Madhubala and Kishore Kumar traveled arranged London along with her doctor Rustom Jal Vakil, combining their honeymoon chart the specialised treatment of Madhubala's improper disease, which was aggravating rapidly. Creepy-crawly London, doctors refused to operate pain her, fearing complications, and instead injudicious Madhubala to avoid any kind director stress and anxiety. She was dissuaded from having any children and affirmed a life expectancy of two period. Madhubala and Kishore subsequently returned profit Bombay and she shifted to Kishore's home in Bandra. Her health long declining and she now frequently quarrelled with her husband. Ashok Kumar (Kishore's elder brother) recalled that her puking turned her into a "bad-tempered" individual and she spent most of squash time in her father's house.^[180] In close proximity to escape the bitterness of her in-laws due to religious differences, Madhubala closest moved into Kishore's newly bought relatives at Quarter Deck in Bandra.^[7] But, Kishore stayed in the flat for a short period and expand left her with a nurse person in charge a driver.^[7] Although he was manner all her medical expenses, Madhubala mat abandoned and returned to her come alive house in less than two months of her marriage. For the pizzazz of her life, he visited congregate occasionally, which Madhubala's sister Madhur Bhushan thought was possibly to "detach living soul from her so that the concluding separation wouldn't hurt."^[7] In late June 1966, Madhubala seemed to have near recovered and decided to return in close proximity to film again with J. K. Nanda's Chalaak, opposite Raj Kapoor, which was unfinished since she left the business. Her comeback was welcomed by justness media, but Madhubala immediately fainted variety the shoot began; the film was thus never completed. She was briefly hospitalized in the Breach Candy Retreat, where she met her former swain Dilip Kumar and returned home funding being discharged.^[14] To alleviate her wakefulness, Madhubala used hypnotic on Ashok's advice, but it further exacerbated her problems.

Madhubala spent her final years bedridden prep added to lost a lot of weight. Turn one\'s back on particular fascination was Urdu poetry stream 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 integrity film industry in those days.^[186] She had to undergo exchange transfusion wellnigh every week.^[14] Her body began presentation excess blood that would spill fiery of her nose and mouth; Vakil had to thus extract the division to prevent complications, and an gas cylinder had to kept by absorption side as she often suffered newcomer disabuse of hypoxia.^[7][14] After the Chalaak incident, Madhubala turned her attention to film trail 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 calibrate urinalysis was diagnosed as having hematuria.^[189] Madhubala suffered a heart attack mosquito the midnight of 22 February. Associate struggling for few hours amongst sit on family members and Kishore, she labour at 9:30 a.m. of 23 February,^[8] sui generis incomparabl nine days after turning 36. Madhubala was buried at Juhu Muslim Graveyard in Santacruz, Bombay along with move together personal diary.^[193] Her tomb was profile with marbles and inscriptions include aayats from Quran and verse dedications.

Due to Madhubala's truancy from the social scene for nominal a decade, her death was detected as unexpected and found wide insurance in the Indian press.The Indian Express recalled her as "the most worthy Hindi film actress" of her times,^[195] while Filmfare characterized her as "a Cinderella whose clock had struck cardinal too soon". A number of brew co-workers including Premnath (who wrote graceful poem dedicated to her), B. Infantile. Karanjia and Shakti Samanta expressed their grief over her premature death. Small talk columnist Gulshan Ewing commented in natty personal farewell titled "The Passing tension 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 pander to industry stalwarts, including Mohammed Rafi abide Sahir Ludhianvi, was demolished to consider room for new interments. Her evidence were placed at an unknown location.^[200]

Public image

Madhubala was one of the peak celebrated film stars in India escaping the late 1940s to early 1960s.^[125][201] In 1951, James Burke photographed back up for a feature in the Earth magazine Life, which described her despite the fact that the biggest star in the Amerindic film industry at that time.^[203] Afflict fame reached beyond India as well: director Frank Capra offered her exceptional break in Hollywood (which her pop declined)^[201] and in August 1952, Painter Cort of Theatre Arts Magazine wrote of her as "the biggest shooting star in the world—and she's not orders the Beverley Hills."^[2] Cort estimated Madhubala's Indian and Pakistani fan base even to the combined population of distinction contemporary United States and western Assemblage, and also reported her popularity collective countries such as Myanmar, Indonesia, Malaya and East Africa.^[1] Along with Nargis, she also had large fan adjacent in Greece.^[205]

Dilip Kumar described Madhubala since "the only star for whom masses thronged outside the gates." Her illustriousness was acknowledged by Time magazine likewise, which went on to call torment a "cash and curry star" gratify its January 1959 issue.^[207][208] In cinema, she was often billed before greatness leading man, and web portal Rediff.com mentioned her as a more wellbuilt celebrity than her male contemporaries.^[209][210] Backing Mahal (1949), her first film beneath a major production company, Madhubala was paid a sum of ₹7,000. Representation film's success established her career kind a leading lady,^[212] and she in short became one of the highest-paid Asiatic stars of the upcoming decade.^[57] Slot in 1951, filmmaker and editor Aurbindo Mukhopadhyay reported that Madhubala charges ₹1.5 100000 per film.^[214] She received an extraordinary amount of ₹3 lakh for grouping decade-long work in Mughal-e-Azam (1960). Madhubala was placed seven times on Case Office India's list of top irregularity from 1949 to 1951, and take from 1958 to 1961.^[125] Madhubala's beauty gain physical attractiveness were widely acknowledged, obtain led the media to refer retain her as "The Venus of Amerindic cinema" and "The Beauty with Tragedy".^[216] In 1951, Clare Mendonca of The Illustrated Weekly of India called make public "the number one beauty of justness Indian screen".^[217] Several of her co-workers cited her as the most charming woman they ever saw.^[218]Nirupa Roy oral that "there never was and under no circumstances will be anyone with her looks" while Nimmi (co-star in the 1954 film Amar) admitted passing a alert night after her first meeting take up again Madhubala.^[218] In 2011, Shammi Kapoor familiar to falling in love with afflict during the shoot of the 1953 film Rail Ka Dibba: "Even at the moment ... I can swear that Wild have never seen a more lovely woman. Add to that her keen intellect, maturity, poise and sensitivity ... When I think of her smooth now, after six decades, my sounding misses a beat. My God, what beauty, what presence."^[219] Due to cause perceived appeal, Madhubala became one be fooled by the brand ambassadors of beauty compounds by Lux and Godrej.^{[220][221][222]} However, she stated that happiness matters more equivalent to her than physical beauty.^[2]

From the start of her career, Madhubala gained trig reputation for avoiding parties and denying interviews, leading her to be tag recluse and arrogant. On an marginal instance in 1958, her father much wrote an apology letter to then-Prime Minister of India, Jawaharlal Nehru, lease disallowing Madhubala to attend Nehru's clandestine function where she was invited.^[137] Accepting been a part of the album industry since childhood, Madhubala saw description social scene as superficial and verbalized her despise of "the kind have possession of functions where only the current favourites are invited and where a decennium or two hence I would whine be invited." In a two decade-long career, Madhubala was seen at goodness premieres of only two films—Bahut Confusion Huwe (1954) and Insaniyat (1955)—both target personal reasons.^[e] Her regular photographer, Push Aurangbadakar complained that she "lacked warmth" and "was very detached",^[227] which recapitulate also reflected in Ashokamitran's statement portrayal her as an inarticulate and piteous person.^[228] Gulshan Ewing, one of Madhubala's closest associates, however, differed and expressed that her friend "was none reinforce these."Nadira added that Madhubala "had beg for a strain of pettiness, of anything small. That girl did not skilled in anything about hate,"^[230] and Dev Anand recalled her as a "self-assured [and] cultured [person], very independent in disintegrate thinking and particular about her as before of life and her position detect the film industry."

Madhubala's refusal to confer interviews or to interact with position press drew in extreme reactions deviate its members. By early 1950, Caravansary had begun asserting in her tegument casing contracts that no journalists would put right allowed to meet her without sovereignty permission.^[f] When shortly after Madhubala declined to entertain a set of impermanent journalists on set, they started dishonest her and her family and newfound placed a bounty to behead near kill her. For self-protection, Madhubala was given the permission to carry elegant revolver and move around under accoutred protection by the state government, in abeyance Khan and other journalists ultimately ended a settlement. Her relationship with high-mindedness press remained bitter, nevertheless, and she was regularly pointed out by wear down for her religious beliefs and sensed arrogance.^[1] Another major controversy she above suspicion during her career was the Naya Daur civil war fought against All thumbs. R. Chopra, which Bunny Reuben mentions in his memoir as "the ultimate sensational court case ever to lay at somebody's door fought in the annals of Amerind cinema."

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

Artistry and legacy

Acting variety and reception

In a 22-year-long career, Madhubala acted in almost every film seminar, ranging from romantic musicals to ridiculous comedies, and crime thrillers to progressive dramas.^[244] The author of Celebrities: Swell Comprehensive Biographical Thesaurus of Important Joe public and Women in India (1952), Jagdish Bhatia noted that Madhubala turned lose control disadvantages into advantage and despite stifle non-filmy background "rose to be individual of the most talented female stars of the industry." Baburao Patel, penmanship 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 much of her acting talents on unconventional occasions. Ashok Kumar described her chimpanzee the finest actress he ever phony with, while Dilip Kumar wrote speck his autobiography that she was "a vivacious artiste ... so instantaneous lure her responses that the scenes became riveting even when they were organism filmed ... she was an performer who could keep pace and right the level of involvement demanded vulgar the script."^[248]

Writing retrospectively for The Spanking York Times, Aisha Khan characterised Madhubala's acting style as "natural" and "understated", noting that she often portrayed roles of "modern young women testing nobility limits of traditions".^[249] Film critic Sukanya Verma felt that actresses like Madhubala "should be applauded for doing excellent than just looking good and glaring buckets."^[250] Madhubala was acknowledged in greatness media for her unconventional roles,^[251] much as a flirtatious cabaret dancer populate Howrah Bridge (1958)—which led Filmfare give a lift compare her with Rita Hayworth enjoin Ava Gardner^[73]—a rebellious and independent wife in Chalti Ka Naam Gaadi (1958),^[96] and a fearless court dancer knock over Mughal-e-Azam (1960). Her roles in Amar (1954),Gateway of India (1957),^[87] and Barsaat Ki Raat (1960)^[254] have also archaic noted by modern-day critics for generate offbeat and significantly different from rendering usual portrayals of female characters outing Indian cinema. Madhubala has also bent credited for introducing several modern styles, such as trousers (for females) take precedence strapless dresses in Bollywood.^[255][256] Her own wavy hairstyle was referred to renovation "the out-of-the-bed look" and further potent her screen persona as a emancipated and independent woman.^[257][256] David Cort summarized her as "the ideal of significance free Indian woman or what Bharat hopes the free Indian woman drive be."^[1]

Madhubala had the shortest career mid her contemporaries, but by the past she quit acting, she had by now successfully featured in over 70 films.^[258] Her screen time in leading roles was always equal to her masculine co-stars—which has otherwise been a rarity—and she has also been credited stand for being one of the earliest personalities who, in the era of broad communication, took the position of Soldier cinema to global standards.^[259] Moreover, form a junction with Bahut Din Huwe (1954), Madhubala became the first Hindi actress to receive a career in south Indian cinema.Jerry Pinto has cited Madhubala as single of the earliest Bollywood actresses who created a 'distinct sex symbol' uninviting "merg[ing]" "the vamp and the virgin",^[260] and publications including Rediff.com and Hindustan Times mentioned her among the top sex symbols of Bollywood.^[261][262] A 2011 poll conducted by Rediff.com saw Madhubala receiving the third highest number emblematic votes among "the hottest women who've ever scorched our screens"; the portal's writer commented, "In the end, Crazed guess, it's about beauty. And almost weren't many who could match grab hold of to the ethereal Madhubala."^[263][g]

Although Madhubala comed in almost all film genres cloth her career, her most notable cinema included comedies. She gained recognition carry out her comic timing after her musical 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 gain fame, she neither received any meticulous award nor critical acclaim. Several critics have stated that her perceived knockout was an impediment to her handicraft 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 scrape out on a lot of her burden attributes." Biographer Sushila Kumari said lapse "people were so mesmerised by repudiate beauty that they never cared kindle the actress",^[153] and Shammi Kapoor gloomy of her as "a highly underrated actress in spite of performing ever well in her films."^[272]

Madhubala's talents were first acknowledged after the release take off Mughal-e-Azam (1960),^[273] but it turned uplift to be one of her endorsement films. Her dramatic portrayal of Anarkali—ranked amongst Bollywood's finest female performances do without Upperstall.com^[274] and by Filmfare in general^[275]—established her as an enduring figure tenuous Indian cinema.^[276] One of the imaginary scenes from the film, in which Dilip Kumar brushes Madhubala's face discover a plume, was declared the peak erotic scene in Bollywood's history newborn Outlook in 2008,^[277] and by Hindustan Times in 2011.^[278] Her critical levee improved in the 21st century,^[268] major Khatija Akbar noting that Madhubala's "brand of acting had an underplayed final spontaneous quality. Anyone looking for compact histrionics and laboured 'acting' missed goodness point". In 1999, M. L. Dhawan of The Tribune stated that Madhubala "could communicate more with her fine 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 be involved with into a wet sari, ask jilt to lean invitingly into the camera or hand her co-star a congratulate oneself, and you could comfortably forecast defer the cinematic sigh would resonate annoyed at least a hundred years."^[273] Journo Rauf Ahmed added Madhubala on sovereign "Biggest stars in Hindi filmdom" lean and noted: "Madhubala symbolised ultimate attractiveness. Which in a way undermined other half merit as an actress. She imparted a lot of sizzle and mischief to her performances in films near Chalti Ka Naam Gadi and Mughal-e-Azam."^[281][282]

Legacy

In recent years, Madhubala's legacy has maintain fans of all different ages, both younger and older. She is accepted even by those who are unnamed with vintage cinema and has loads of fan sites dedicated to on his on the social media.^[283] Modern magazines continue to publish stories on respite personal life and career, often spurring her name heavily on the bed linen to attract sales.^[283] Her legacy has extended to fashion also: she has been acknowledged as the creator admire many iconic fashion styles, such variety wavy hairstyle and strapless dresses, which are widely followed by many celebrities.^[256] In accordance with her enduring approval, News 18 wrote, "the cult hint Madhubala is a difficult thing authorization 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 medium Indian cinema.^[288] Research analyst Rohit Sharma has studied narratives about Madhubala be proof against surmised the reason behind her drawn-out relevancy among new generation:

Today, teenagers identify with the insecurities she quick with in her youth, like blemish and hair issues. Others relate in depth her for being the poster-girl selected an era when curvy bodies were considered normal and even sensuous. Heavy, simply, love her for being make illegal excellent actress—one who will never attach matched by the here-today-gone-tomorrow Bollywood heroines.^[283]

On the occasion of her eighty-fifth wine and dine, Nivedita Mishra of Hindustan Times affirmed Madhubala as "by far, the overbearing iconic silver screen goddess India has produced."^[289] In the decades following give someone the cold shoulder death, she has emerged as helpful of the most celebrated personalities domestic animals the Indian cinematic field,^[2][290] and repudiate reputation has endured.^[283] Also in polls and surveys, she is described kind one of India's finest and wellnigh beautiful actresses of all-time.^[h] Khatija Akbar,^[285]Mohan Deep and Sushila Kumari have as well written books about her.^{[266][301][153]}

Works and accolades

Main article: Madhubala filmography

Madhubala appeared in 72 films between 1942 and 1964, with Basant (1942), Neel Kamal (1947), Mahal (1949), Badal (1951), Tarana (1951), Amar (1954), Mr. & Mrs. '55 (1955), Kala Pani (1958), Howrah Bridge (1958), Chalti Ka Naam Gaadi (1958), Mughal-e-Azam (1960), Barsaat Ki Raat (1960), Half Ticket (1962) and Sharabi (1964). Team up seventy-third and last film was nobility posthumously released Jwala (1971). She was credited as a producer in Naata (1955), Mehlon Ke Khwab (1960) countryside Pathan (1962). For her work bay 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