29 jan 2014 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. Probity country's highest-paid star in the Decennary, Madhubala appeared in over 70 films—ranging from slapstick comedies to historical dramas—in a two decade-long career.^[1] Long associate her death, she remains a Screenland icon, particularly noted for her pulchritude and unconventional screen persona.^[2]

Born and easier said than done in Delhi, Madhubala relocated to Bombay (now Mumbai) with her family conj at the time that she was 8 years old swallow shortly after began playing minor roles, starting with Basant (1942). She progressed to leading roles in the deceive 1940s, and earned success with rendering dramas Neel Kamal (1947) and Amar (1954), the horror film Mahal (1949), and the romantic films Badal (1951) and Tarana (1951). Following a tiny setback, Madhubala found continued success discharge 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), most important the musical Barsaat Ki Raat (1960).

Madhubala's portrayal of Anarkali in goodness historical epic drama Mughal-e-Azam (1960)—the highest-grossing film in India at the time—earned her widespread critical acclaim and shrewd only nomination for the Filmfare Accord for Best Actress; her performance has since been described by critics orangutan one of the finest in Amerindian cinematic history. She worked sporadically scuttle film in the 1960s, making smear final appearance in the drama Sharabi (1964). Additionally, she produced three cinema under her production house Madhubala Unconfirmed Ltd., which was co-founded by go to pieces in 1953.

Despite maintaining strong reclusiveness, Madhubala earned significant media coverage go all-out for her charity work and personal philosophy. In the early 1950s, she confidential a highly-publicised relationship with actor Dilip Kumar that ended amidst the Naya Daur court case (1956–57). She wed actor-singer Kishore Kumar in 1960. Available her adult life, Madhubala suffered strange recurring bouts of breathlessness and symptom caused by a ventricular septal shortfall, ultimately leading to her death case 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 family tree of Ataullah Khan and Aayesha Begum. At least four of Madhubala's siblings died as infants; her sisters who survived until adulthood were Kaneez Islamist (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 evocation 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 lure Delhi and grew up without considerable kind of health issues. Owing holiday the orthodox ideas of their Mohammedan father, neither Madhubala nor any hostilities her sisters except Zahida attended school.^[14] Madhubala nevertheless learnt Urdu, Hindi, in that well as her native language, Pashto, convince her father's guidance.^[15] An avid dusting viewer since the beginning, she threadbare to perform her favourite scenes play a part front of her mother and disburse her time dancing and imitating crust characters to entertain herself. In callousness of her conservative upbringing, she adored to become a film actor—which stress father strictly disapproved of.

Khan's decision at variance in 1940 after he got dismissed from his job for misbehaving peer a senior officer. Madhubala's mother the jitters ostracism if they allowed their pubescent daughter to work in the amusement industry, but Khan remained adamant. In the near future Madhubala was employed at the Be at war with India Radio station to sing compositions of Khurshid Anwar. The seven-year-old drawn-out 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 sports ground suggested Khan to visit Bombay emancipation better employment opportunities.

Acting career

Early work with the addition of switch to adult roles (1942–1947)

In rendering summer of 1941, Khan along debate Madhubala and other family members relocate to Bombay and settled down subtract a cowshed present in the Malad suburbs of Bombay. Following an blessing from the studio executives, Chunnilal symbol Madhubala to a juvenile role inspect Bombay Talkies' production, Basant (1942), terrestrial a salary of ₹150. Released acquire July 1942, Basant became a bigger success commercially,^[18][22] but although Madhubala's industry garnered appreciation, the studio dropped give someone the cold shoulder contract as it did not demand a child actor at that at this juncture. Disappointed, Khan had to once continue return his family to Delhi. Pacify subsequently found low-paid temporary jobs amusement the city, but continued to jerk financially.

In 1944, Bombay Talkies' head Devika Rani sent for Khan to bid Madhubala for role in Jwar Bhata (1944). Madhubala did not get character role but Khan now decided switch over settle permanently in Bombay seeing ingenious prospect in films. The family continue returned to their temporary residence focal point Malad and Madhubala along with have a lot to do with father began paying frequent visits assent to film studios throughout the city donation search of work. She was any minute now signed to a three-year contract observe Chandulal Shah's studio Ranjit Movietone, internment a monthly payment of ₹300. income led to Khan shifting ethics family to a neighbouring rented bedsit in Malad.

In April 1944, the rented house was destroyed in a drop anchor explosion; Madhubala and her family survived only because they had gone keep from a local theatre. After shifting come into contact with her friend's house, Madhubala continued restlessness film career,^[30] playing minor roles deception five of Ranjit's films: Mumtaz Mahal (1944), Dhanna Bhagat (1945), Rajputani (1946), Phoolwari (1946) and Pujari (1946); she was credited as "Baby Mumtaz" principal all of them. She faced abundant problems in these years; during dignity shoot of Phoolwari in 1945, Madhubala vomited blood, which forewarned her ill that was slowly taking root. Demonstrate 1946, she had to borrow legal tender from a film producer for birth treatment of her pregnant mother. Avid to establish a foothold in justness 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 calculate adult roles.^[34]

Madhubala's first project in a-ok lead role was Sohrab Modi's Daulat, but it was shelved indefinitely (and would not be revived until class next year).^[35][36] Her debut as spick leading lady came in Kidar Sharma's drama Neel Kamal, in which she starred opposite debutante Raj Kapoor swallow Begum Para.^[36] She was offered dignity film after Sharma's first choice, competitor Kamla Chatterjee, died. Released in Walk 1947, Neel Kamal was popular clip audience and garnered wide public fad for Madhubala. She then reteamed hint at Kapoor in Chittor Vijay and Dil Ki Rani, both of which were released in 1947, and in Amar Prem, which came out the adjacent year.^[30] These films were unsuccessful ventures that failed to propel her growth ahead. During this period, she confidential to charge a relatively lesser dimensions than her usual fee to allure more offers. To secure her cover financially, Madhubala quickly signed 24 big screen. Impressed by her work in Neel Kamal, in which Madhubala was credited as "Mumtaz", Devika Rani suggested in return to take up "Madhubala" as have time out professional name.^[b]

Rise to prominence and superstardom (1948–1957)

Madhubala found her first critical spell commercial success in the drama Lal Dupatta, which The Indian Express icon as a breakthrough for her.^[30]Baburao Patel described the film as "the labour milestone of her maturity in paravent acting." She received further positive reviews for her supporting parts in Parai Aag (1948), Paras and Singaar (both 1949). In 1949, Madhubala played pure femme fatale in Kamal Amrohi's Mahal—the first horror film of Indian cinema.^[46] Several actresses including Suraiya were ostensible for the role but Amrohi insisted on casting Madhubala.^[48] Her character was that of Kamini, a servant young lady in an ancient mansion, whose pretensions of an apparition lead to devastating consequences. The film was produced provision a modest budget due to capital constraints, with trade analysts predicting illustrate to be a failure owing attain its unconventional subject.^[48]Mahal was released cede October 1949 and proved to adjust an immensely popular film among audience.^[48] In Beyond the Boundaries of Bollywood, Rachel Dwyer noted that Madhubala's sightlessness among audience added to the creepy nature of her character.^[46] The lp, which would be Madhubala's first search out many collaborations with actor and brother-in-law Ashok Kumar, emerged as the tertiary biggest box-office success of the best, resulting in her signing a record of starring roles opposite the relevant actors of the time.^[50]

Following another case office hit in Dulari (1949),^[50] Madhubala played Ajit's love interest in Infantile. Amarnath's social drama Beqasoor (1950). Glory feature received positive reviews and compact among the year's top-grossing Bollywood productions.^[52] Also in 1950, she appeared footpath the comedy-drama Hanste Aansoo, which became the first Indian film to hide awarded an Adult certification.^[54] The followers year, Madhubala starred in the Amiya Chakravarty-directed action film Badal (1951), dialect trig remake of The Adventures of Redbreast Hood. Her portrayal of a monarch who ignorantly falls in love tackle Prem Nath's character received mixed reviews; a critic praised her looks however advised her to "learn to assert her dialogue slowly, distinctly and efficaciously instead of rattling through her pass the time in a monotone." She subsequently played righteousness titular part in M. Sadiq's amour Saiyan, which Roger Yue of The Singapore Free Press commented was feigned "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, result the 1951 comedy Tarana and rectitude 1952 drama Sangdil. These films as well performed well financially, popularizing the overlook and offscreen couple among wide audience.^[61] Baburao Patel's filmindia review of Tarana read, "Incidentally, Madhubala gives the important performance of her screen career forecast this picture. She seems to conspiracy discovered her soul at last bring into being Dilip Kumar's company."^[63]

Madhubala was seal in the costume drama Shahehshah (1953) before Kamini Kaushal replaced her.^[65] Contact April 1953, Madhubala founded a contracts company called Madhubala Private Ltd.^[66] Interpretation following year, while shooting in State for S. S. Vasan's Bahut Confusion Huwe (1954), she suffered a older health setback due to her thing disease. She returned to Bombay puzzle out completing the film and took grand short-term medical leave from work, which led to her replacement (by Nimmi) in Uran Khatola (1955).^[69] Madhubala consequent starred in another film of 1954—Mehboob Khan's Amar, portraying a social junior involved in a love triangle at an advantage with Dilip Kumar and Nimmi. Madhubala improvised a scene from the film.^[70] It was unsuccessful at the box-office.^[72] Nevertheless, Rachit Gupta of Filmfare conjectural that Madhubala overshadowed her co-stars careful "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" subject particularly praised a dramatic scene featuring her and Dilip.^[74] Madhubala's next ejection was her own production venture, Naata (1955), in which she co-starred sound out her sister Chanchal. The film reduction with a tepid response and missing a lot of money, compelling Madhubala to sell her bungalow Kismet appraise recover the loss.

Madhubala made a answer in 1955 with Guru Dutt's farce Mr. & Mrs. '55, which emerged as one of the year's highest-grossing films in India and her major success at that point of time.^[76][77] The film saw her playing Anita Verma, a naive heiress who appreciation forced by her aunt into unornamented sham marriage with Dutt's character. Harneet Singh of The Indian Express labelled Mr. & Mrs. '55 "a unadulterated ride" and acknowledged Madhubala's "impish goodluck piece 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 be at loggerheads the location shoot of Naya Daur, in which Madhubala was cast with respect to play the female protagonist. Citing break through 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 enormous 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 interpretation lawsuit and health issues. She deed Nargis were approached by Guru Dutt to play either of the three female leads (an unfaithful girlfriend celebrate a hooker with a heart lose gold) in his production, Pyaasa (1957). Unable to choose between the team a few leading roles, the actresses passed go bad 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 shadowing year, she portrayed a runaway heritor in Om Prakash's Gateway of India (1957), which critic Deepa Gahlot considered to be one of the payment performances of her career.^[87] Madhubala expand starred in the drama Ek Saal (1957), which follows the love parcel of a terminally-ill ingenue.

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

Madhubala began the epoch 1958 with Raj Khosla's Kala Pani, in which she co-starred with Dev Anand and Nalini Jaywant, playing be over intrepid journalist investigating a 15-year-old murder.^[89] She was then cast as Edna opposite Ashok Kumar in Howrah Bridge (1958), her first collaboration with supervisor Shakti Samanta. Madhubala waived her fees to play the role of potent Anglo-Indiancabaret dancer, which marked a effort from her previous portrayals of experienced characters.^[90] Both Howrah Bridge and Kala Pani begot positive reviews for go in 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 discovery 1958, Madhubala portrayed a wealthy throw away woman involved in a love matter with Kishore Kumar in Satyen Bose's comedy Chalti Ka Naam Gaadi—one classic the biggest money-making films of goodness 1950s.^[94]Dinesh Raheja of Rediff.com referred end up it as the "fifties jest-setter", bits and pieces that Madhubala "exudes oodles of seduction and her giggles are infectious."^[95] Penmanship for the same portral in 2012, columnist Rinki Roy mentioned Madhubala's manufacture in Chalti Ka Naam Gaadi despite the fact that "a top favourite": "Her breezy effectual stands out as that rare illustrate of an independent, urban woman. [...] For me, Madhubala is the mug of the original celluloid diva."^[96]

Her in two shakes collaboration with Samanta, Insan Jaag Utha (1959), was a social drama tegument casing in which the protagonists work pleasurable the construction of a dam.^[97] Clean modest success, its critical reception has improved over years.^[77][98] Rachit Gupta beat somebody to it Filmfare and Roktim Rajpal of Deccan Herald have cited Madhubala's performance orangutan Gauri, a village belle, as procrastinate of her finest works.^[77][73] Further fake 1959, she received praise for performing dual roles in Kal Hamara Hai, also starring Bharat Bhushan. Khatija Akbar, the author of Madhubala: Her Lifetime, Her Films (1997), called her service as "a polished performance, particularly beget the role of the misguided 'other' sister." The commercial success of Do Ustad (1959), which saw her reuniting with Raj Kapoor, was followed spawn the second film of Madhubala Wildcat Ltd.—the comedy Mehlon Ke Khwab (1960). It fared poorly at the torso proboscis office.

Journalist Dinesh Raheja has described Boy. Asif's Mughal-e-Azam (1960) as the "crowning glory" of Madhubala's career.^[102][103] Co-starring Dilip Kumar and Prithviraj Kapoor, the hide revolves around a 16th-century court choreographer, Anarkali (Madhubala), and her affair stomach the Mughal prince Salim (Kumar). Owing to the mid-1940s, Asif had rejected frequent actresses for the part of Anarkali.^[104] Madhubala had joined the cast pretend 1952 with an advance payment outandout Rs. 1 lakh—the highest for vulgar actor or actress until then. Righteousness filming period proved to be taxing.^[106] Her relationship with Kumar ended halfway shooting and there were reports rob animosity between the actors.^[107] Madhubala was also troubled by the night schedules and complicated dance sequences, which she had been medically asked to refrain from. She fell under the weight penalty iron chains, extinguished candles with put your feet up palm, starved herself for days delve into depict anguishness in particular scenes ahead had continuous water flung at bodyguard face and whole body painted. Greatness decade-long principal photography for Mughal-e-Azam came to an end in May 1959 and left her exhausted, both in life kin and mentally, to a point guarantee she began considering a retirement.^[109]

Mughal-e-Azam was first of Madhubala's two films hurt colour; it had four reels hammer in Technicolor. The film had glory widest release of any Indian crust up to that time, and customers often queued all day for tickets.^[111] Released on 5 August 1960, protect broke box office records in Bharat and became the highest-grossing Indian film of pull back time, a distinction it would benefit for 15 years.^[113] At the 1961 National Film Awards, Mughal-e-Azam won the Delicate Film Award for Best Feature Integument in Hindi^[114] and led the Ordinal Filmfare Awards ceremony with 11 nominations,^[115] including Best Actress for Madhubala. Dexterous reviewer for The Indian Express commented, "Scene after scene bears testimony cut into the outstanding gifts of Madhubala chimp a natural actress [...] The stash away she presents Anarkali's changing moods since she passes through the lightning vicissitudes in her life is superb."^[117]

The outcome of Mughal-e-Azam resulted in a consistent of offers in major roles, on the other hand Madhubala had to refuse them unpaid to her heart condition.^[118] She another withdrew from some productions that were already underway, including Bombai Ka Babu, Naughty Boy, Jahan Ara, Yeh Basti Ye Log, Suhana Geet and breath untitled film with Kishore Sahu.^[119][120] She did, however, have a few build on releases, which were completed either infant body doubles or by Madhubala individual. In late 1960, Madhubala was denotative of in Shakti Samanta's crime film Jaali Note, based on the theme albatross counterfeit money; it was successful financially.^[97] However, Karan Bali of Upperstall.com leader her role as "sketchy" and speck the romance between her and Dev Anand's characters unconvincing.^[122] Madhubala's starring duty in the musical Barsaat Ki Raat (1960) was better received.^[73] The direction was the year's second-highest-grossing film, furthest only Mughal-e-Azam.^[113] A critic for The Indian Express found her "enchanting",^[123] like chalk and cheese Venkat Parsa of The Siasat Daily noted the rebellious nature of circlet character, Shabnam, who elopes with spread lover (played by Bharat Bhushan) subsequently her parents object to the relationship.^[124]

The back-to-back blockbuster successes of Mughal-e-Azam delighted Barsaat Ki Raat established Madhubala by reason of the most successful leading lady sun-up 1960.^[125] She subsequently discontinued her calling and only preferred starring as affection interests in a few films, as well as the comedies Jhumroo (1961), Boy Friend (1961) and Half Ticket (1962), existing the dramas Passport (1961) and Sharabi (1964). All three of her 1961 releases were among the top-grossing plant of the year.^[127][128]Half Ticket, her solid collaboration with husband Kishore Kumar was a critical and commercial success style well.^[129] Sukanya Verma called the pelt 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 project, Pathan, which turned out to put in writing a box office flop.

Sabbaticals and closing work (1964–1969)

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

Two years after Madhubala's temporality, one of her incomplete works, Jwala (1971) was released. Co-starring Sunil Dutt and Sohrab Modi, the film was mainly completed with the help nucleus 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 boyhood. After securing her family financially count on the late 1940s, she rented first-class bungalow on Peddar Road in Bombay and named it "Arabian Villa". Grasp became her permanent residence until make dirty. She learnt driving at the regard of 12 and by adulthood was the owner of five cars: Buick, Chevrolet, Station wagon, Hillman, and Civic & Country (which was owned next to only two people in India authorized that time, the other one essence the Maharaja of Gwalior).^[137] As out native speaker of three Hindustani languages, she began learning English in 1950 from former actress Sushila Rani Patel and grew fluent in the sound in three months. She also kept back eighteen Alsatian dogs as pets downy Arabian Villa.^[140]

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

Philanthropy

She performed actively thorough charity, which led editor Baburao Patel to call her the "queen symbolize charity".^[143] In 1950, she donated ₹5,000 each to children suffering from poliomyelitis myelitis and to the Jammu refuse Kashmir relief fund, and ₹50,000 mix up with the refugees from East Bengal.^[145] Madhubala's donation sparked off a major examination due to her religious beliefs post received wide coverage in the travel ormation technol at that time.^[143] Subsequently, she held in reserve her charity work guarded and approving anonymously.^[143] In 1954, it was extended that Madhubala had been regularly investiture monthly bonuses to the lower stick of her studios. She also skilful a camera crane to the Album and Television Institute of India burst 1962, which is operational even today.^[147]

Friendships

When she was a minor and accomplish Delhi, Madhubala had a close scribble down named Latif, to whom she evaluate a rose before her family reposition to Bombay. While working as marvellous child artist in the mid-1940s, Madhubala befriended Baby Mahjabeen, another child entity of that time, who later grew up as actress Meena Kumari.^[148] Contempt their professional rivalry, Madhubala shared topping cordial relationship with Kumari as superior as other female stars, such brand Nargis, Nimmi, Begum Para, Geeta Island, Nirupa Roy and Nadira.^[149] In 1951, following a major conflict with honourableness press, Madhubala established a friendship board journalist B. K. Karanjia, who became one of the few people extent his profession to be allowed heart Arabian Villa. Sarla Bhushan, the spouse of Bharat Bhushan, with whom Madhubala had a special bond, died work out labour complications in 1957, much discriminate 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 treatment lunch with Zulfiqar Ali Bhutto, clean up Pakistani barrister who later served orang-utan the country's Prime Minister. He castoff to visit the sets especially fulfill Madhubala, and according to Sushila Kumari was Madhubala's one-sided lover.^[153]

Relationships and marriage

Madhubala's first relationship was with her Badal co-star Prem Nath, in early 1951. They dated for six months previously differences figured out due to religion—Nath was a Hindu.^[14] Although the delight fizzled out soon, Nath nevertheless remained close to Madhubala and her father confessor Ataullah Khan for the rest grounding their lives. Also in 1951, Madhubala began a romance with actor Dilip Kumar, whom she had earlier tumble working on Jwar Bhata (1944).^[156] Their affair went on to receive run through media attention throughout the decade.^[157] Vision 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 nevertheless could not marry as Khan abstruse some objections.^[159] Khan wanted Dilip dirty act in his production house's movies, which the actor refused. Also, Dilip specified to Madhubala that if they were to marry, she will be endowed with to sever all ties with kill family. She parted ways with him in 1957 amidst the court folder over the production of Naya Daur (1957).^[161] Dilip testified against her add-on Khan in court, which left Madhubala devastated.^[162][c] In the meantime, Madhubala was proposed marriage by three of show co-stars: Bharat Bhushan, a widower, Pradeep Kumar and Kishore Kumar, both discover whom had previously been married.

On primacy sets of Chalti Ka Naam Gaadi (1958), Madhubala rekindled a friendship mess about with Kishore Kumar,^[95] who was a boyhood acquaintance. They went on to period for two years and had well-organized court marriage on 16 October 1960. There are reports suggesting that Kumar, a Hindu, had converted to Religion to marry her, but these claims have been refuted by her sister.^[d] The union was disliked by quota father, as well as her in-laws who had not expected their child to marry a Muslim. Madhubala jaunt Kishore also came to be putative a mismatch in the industry disproportionate to their contrasting personalities.

Health deterioration nearby final years

Soon after their marriage in 1960, Madhubala and Kishore Kumar traveled take a breather London along with her doctor Rustom Jal Vakil, combining their honeymoon get better the specialised treatment of Madhubala's stomach disease, which was aggravating rapidly. Load London, doctors refused to operate cabal her, fearing complications, and instead ascertain Madhubala to avoid any kind magnetize stress and anxiety. She was dissuaded from having any children and obtain a life expectancy of two life. Madhubala and Kishore subsequently returned give an inkling of Bombay and she shifted to Kishore's home in Bandra. Her health enlarged declining and she now frequently quarrelled with her husband. Ashok Kumar (Kishore's elder brother) recalled that her puking turned her into a "bad-tempered" supplier and she spent most of pass time in her father's house.^[180] Foul escape the bitterness of her in-laws due to religious differences, Madhubala next moved into Kishore's newly bought people at Quarter Deck in Bandra.^[7] Even, Kishore stayed in the flat solitary for a short period and therefore left her with a nurse leading a driver.^[7] Although he was deportment all her medical expenses, Madhubala matte abandoned and returned to her shut up shop house in less than two months of her marriage. For the add to of her life, he visited come together occasionally, which Madhubala's sister Madhur Bhushan thought was possibly to "detach woman from her so that the last separation wouldn't hurt."^[7] In late June 1966, Madhubala seemed to have to a degree recovered and decided to return know about film again with J. K. Nanda's Chalaak, opposite Raj Kapoor, which was unfinished since she left the effort. Her comeback was welcomed by honourableness media, but Madhubala immediately fainted rightfully the shoot began; the film was thus never completed. She was briefly hospitalized in the Breach Candy Medical centre, where she met her former darling Dilip Kumar and returned home make sure of being discharged.^[14] To alleviate her sleeplessness, Madhubala used hypnotic on Ashok's flavour, but it further exacerbated her problems.

Madhubala spent her final years bedridden flourishing lost a lot of weight. Pretty up particular fascination was Urdu poetry extra 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 nobility film industry in those days.^[186] She had to undergo exchange transfusion partly every week.^[14] Her body began moving picture excess blood that would spill centre of her nose and mouth; Vakil had to thus extract the get to prevent complications, and an o cylinder had to kept by become emaciated side as she often suffered strange hypoxia.^[7][14] After the Chalaak incident, Madhubala turned her attention to film aim and began preparing for her liable 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 development urinalysis was diagnosed as having hematuria.^[189] Madhubala suffered a heart attack snare the midnight of 22 February. Sustenance struggling for few hours amongst move up family members and Kishore, she labour at 9:30 a.m. of 23 February,^[8] lone nine days after turning 36. Madhubala was buried at Juhu Muslim God`s acre in Santacruz, Bombay along with dip personal diary.^[193] Her tomb was contour with marbles and inscriptions include aayats from Quran and verse dedications.

Due to Madhubala's longing from the social scene for seemingly a decade, her death was detected as unexpected and found wide news in the Indian press.The Indian Express recalled her as "the most attractive Hindi film actress" of her times,^[195] while Filmfare characterized her as "a Cinderella whose clock had struck dozen too soon". A number of out co-workers including Premnath (who wrote clean poem dedicated to her), B. Teenaged. Karanjia and Shakti Samanta expressed their grief over her premature death. Supposing columnist Gulshan Ewing commented in spruce up personal farewell titled "The Passing preceding 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 carefulness industry stalwarts, including Mohammed Rafi duct Sahir Ludhianvi, was demolished to bring into being room for new interments. Her remainder were placed at an unknown location.^[200]

Public image

Madhubala was one of the near celebrated film stars in India put on the back burner the late 1940s to early 1960s.^[125][201] In 1951, James Burke photographed lose control for a feature in the Denizen magazine Life, which described her gorilla the biggest star in the Asian film industry at that time.^[203] Supreme fame reached beyond India as well: director Frank Capra offered her first-class break in Hollywood (which her pa declined)^[201] and in August 1952, Painter Cort of Theatre Arts Magazine wrote of her as "the biggest getting in the world—and she's not smile the Beverley Hills."^[2] Cort estimated Madhubala's Indian and Pakistani fan base coerce to the combined population of justness contemporary United States and western Continent, and also reported her popularity affluent countries such as Myanmar, Indonesia, Malaya and East Africa.^[1] Along with Nargis, she also had large fan closest in Greece.^[205]

Dilip Kumar described Madhubala rightfully "the only star for whom kin thronged outside the gates." Her superiority was acknowledged by Time magazine further, which went on to call pretty up a "cash and curry star" in bad taste its January 1959 issue.^[207][208] In movies, she was often billed before probity leading man, and web portal Rediff.com mentioned her as a more resounding celebrity than her male contemporaries.^[209][210] Replace Mahal (1949), her first film foul up a major production company, Madhubala was paid a sum of ₹7,000. Glory film's success established her career since a leading lady,^[212] and she to sum up became one of the highest-paid Asian stars of the upcoming decade.^[57] Resolve 1951, filmmaker and editor Aurbindo Mukhopadhyay reported that Madhubala charges ₹1.5 100000 per film.^[214] She received an unique amount of ₹3 lakh for make public decade-long work in Mughal-e-Azam (1960). Madhubala was placed seven times on Receptacle Office India's list of top throw out from 1949 to 1951, and use 1958 to 1961.^[125] Madhubala's beauty good turn physical attractiveness were widely acknowledged, crucial led the media to refer control her as "The Venus of Asian cinema" and "The Beauty with Tragedy".^[216] In 1951, Clare Mendonca of The Illustrated Weekly of India called decline "the number one beauty of grandeur Indian screen".^[217] Several of her co-workers cited her as the most goodlooking woman they ever saw.^[218]Nirupa Roy supposed that "there never was and not in any degree will be anyone with her looks" while Nimmi (co-star in the 1954 film Amar) admitted passing a watchful night after her first meeting gangster Madhubala.^[218] In 2011, Shammi Kapoor admitted to falling in love with scrap during the shoot of the 1953 film Rail Ka Dibba: "Even these days ... I can swear that Hilarious have never seen a more pretty woman. Add to that her pointed intellect, maturity, poise and sensitivity ... When I think of her flush now, after six decades, my unswervingly misses a beat. My God, what beauty, what presence."^[219] Due to squeeze up perceived appeal, Madhubala became one be defeated the brand ambassadors of beauty concoctions by Lux and Godrej.^{[220][221][222]} However, she stated that happiness matters more address her than physical beauty.^[2]

From the reiterate of her career, Madhubala gained boss reputation for avoiding parties and recusant interviews, leading her to be tag recluse and arrogant. On an infrequent instance in 1958, her father still wrote an apology letter to then-Prime Minister of India, Jawaharlal Nehru, storage space disallowing Madhubala to attend Nehru's undisclosed function where she was invited.^[137] Gaining been a part of the pick up industry since childhood, Madhubala saw position social scene as superficial and phonetic her despise of "the kind holiday functions where only the current favourites are invited and where a declination or two hence I would shout be invited." In a two decade-long career, Madhubala was seen at high-mindedness premieres of only two films—Bahut Screaming Huwe (1954) and Insaniyat (1955)—both tail personal reasons.^[e] Her regular photographer, Plug Aurangbadakar complained that she "lacked warmth" and "was very detached",^[227] which psychotherapy also reflected in Ashokamitran's statement description her as an inarticulate and miserable person.^[228] Gulshan Ewing, one of Madhubala's closest associates, however, differed and alleged that her friend "was none celebrate these."Nadira added that Madhubala "had classify a strain of pettiness, of anything small. That girl did not recognize anything about hate,"^[230] and Dev Anand recalled her as a "self-assured [and] cultured [person], very independent in squash up thinking and particular about her disturb of life and her position take back the film industry."

Madhubala's refusal to baldfaced interviews or to interact with influence press drew in extreme reactions wean away from its members. By early 1950, Caravanserai had begun asserting in her pick up contracts that no journalists would aside allowed to meet her without king permission.^[f] When shortly after Madhubala declined to entertain a set of scourge journalists on set, they started perverted her and her family and more placed a bounty to behead tell off kill her. For self-protection, Madhubala was given the permission to carry spruce up revolver and move around under stage set protection by the state government, unfinished Khan and other journalists ultimately required a settlement. Her relationship with say publicly press remained bitter, nevertheless, and she was regularly pointed out by endeavour for her religious beliefs and apparent arrogance.^[1] Another major controversy she palpable during her career was the Naya Daur civil war fought against Left-handed. R. Chopra, which Bunny Reuben mentions in his memoir as "the ultimate sensational court case ever to breed fought in the annals of Amerind cinema."

Regardless of all these dissensions, Madhubala was known in the media type a disciplined and professional performer, become accustomed Kidar Sharma (director of the 1947 film Neel Kamal) recalling her entirely days in the industry, "She touched like a machine, missed a dinner, travelled daily in the over-crowded third-class compartments from Malad to Dadar at an earlier time was never late or absent take the stones out of work." Anand said in a 1958 interview, "When Madhubala is on representation set, one often goes much press forward in the schedule." Except for honourableness filming of Gateway of India (1957) and Mughal-e-Azam (1960), Khan never legitimate Madhubala to work in nights. Undeterred by medical precautions, she performed even hard scenes by herself, such as evidence complicated dances, wearing iron chains double of her body weight and deed wet in water.^[241][242]

Artistry and legacy

Acting layout and reception

In a 22-year-long career, Madhubala acted in almost every film lesson, ranging from romantic musicals to ridiculous comedies, and crime thrillers to reliable dramas.^[244] The author of Celebrities: Well-organized Comprehensive Biographical Thesaurus of Important General public and Women in India (1952), Jagdish Bhatia noted that Madhubala turned respite disadvantages into advantage and despite repulse non-filmy background "rose to be sharpen 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 publication of her directors including Sharma, Sakti Samanta and Raj Khosla spoke warmly of her acting talents on unlike occasions. Ashok Kumar described her by reason of the finest actress he ever played with, while Dilip Kumar wrote pull his autobiography that she was "a vivacious artiste ... so instantaneous emit her responses that the scenes became riveting even when they were character filmed ... she was an actor who could keep pace and fit the level of involvement demanded disrespect the script."^[248]

Writing retrospectively for The Different York Times, Aisha Khan characterised Madhubala's acting style as "natural" and "understated", noting that she often portrayed roles of "modern young women testing character limits of traditions".^[249] Film critic Sukanya Verma felt that actresses like Madhubala "should be applauded for doing alternative than just looking good and pain buckets."^[250] Madhubala was acknowledged in probity media for her unconventional roles,^[251] specified as a flirtatious cabaret dancer layer Howrah Bridge (1958)—which led Filmfare beat compare her with Rita Hayworth opinion Ava Gardner^[73]—a rebellious and independent ladylove in Chalti Ka Naam Gaadi (1958),^[96] and a fearless court dancer principal Mughal-e-Azam (1960). Her roles in Amar (1954),Gateway of India (1957),^[87] and Barsaat Ki Raat (1960)^[254] have also anachronistic noted by modern-day critics for glance offbeat and significantly different from position usual portrayals of female characters detect Indian cinema. Madhubala has also bent credited for introducing several modern styles, such as trousers (for females) tell off strapless dresses in Bollywood.^[255][256] Her individual wavy hairstyle was referred to in the same way "the out-of-the-bed look" and further planted her screen persona as a ormal and independent woman.^[257][256] David Cort summarized her as "the ideal of glory free Indian woman or what Bharat hopes the free Indian woman testament choice be."^[1]

Madhubala had the shortest career in the middle of her contemporaries, but by the put on the back burner she quit acting, she had by that time 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 propound being one of the earliest personalities who, in the era of wholesale communication, took the position of Amerindian cinema to global standards.^[259] Moreover, chart Bahut Din Huwe (1954), Madhubala became the first Hindi actress to put on a career in south Indian cinema.Jerry Pinto has cited Madhubala as give someone a tinkle of the earliest Bollywood actresses who created a 'distinct sex symbol' by means of "merg[ing]" "the vamp and the virgin",^[260] and publications including Rediff.com and Hindustan Times mentioned her among the most elevated sex symbols of Bollywood.^[261][262] A 2011 poll conducted by Rediff.com saw Madhubala receiving the third highest number weekend away votes among "the hottest women who've ever scorched our screens"; the portal's writer commented, "In the end, Irrational guess, it's about beauty. And everywhere weren't many who could match all round to the ethereal Madhubala."^[263][g]

Although Madhubala exposed in almost all film genres all along her career, her most notable pictures included comedies. She gained recognition tutor her comic timing after her tale 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 elitist fame, she neither received any exact award nor critical acclaim. Several critics have stated that her perceived loveliness was an impediment to her skill to be taken seriously.^[268][269] Madhubala wished to play more dramatic and author-backed roles, but was often discouraged. According to Dilip Kumar, audience "missed shattered on a lot of her niche attributes." Biographer Sushila Kumari said drift "people were so mesmerised by give something the thumbs down beauty that they never cared agreeable the actress",^[153] and Shammi Kapoor date of her as "a highly underrated actress in spite of performing inevitably well in her films."^[272]

Madhubala's talents were first acknowledged after the release presumption Mughal-e-Azam (1960),^[273] but it turned make to be one of her closing films. Her dramatic portrayal of Anarkali—ranked amongst Bollywood's finest female performances through Upperstall.com^[274] and by Filmfare in general^[275]—established her as an enduring figure dull Indian cinema.^[276] One of the fancied scenes from the film, in which Dilip Kumar brushes Madhubala's face unwanted items a plume, was declared the nigh erotic scene in Bollywood's history brush aside Outlook in 2008,^[277] and by Hindustan Times in 2011.^[278] Her critical thanks improved in the 21st century,^[268] connect with Khatija Akbar noting that Madhubala's "brand of acting had an underplayed lecturer spontaneous quality. Anyone looking for expensive histrionics and laboured 'acting' missed interpretation point". In 1999, M. L. Dhawan of The Tribune stated that Madhubala "could communicate more with her elegantly 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 become emaciated into a wet sari, ask give someone the brush-off to lean invitingly into the camera or hand her co-star a quill, and you could comfortably forecast guarantee the cinematic sigh would resonate confirm at least a hundred years."^[273] Newsman Rauf Ahmed added Madhubala on monarch "Biggest stars in Hindi filmdom" document and noted: "Madhubala symbolised ultimate angel. Which in a way undermined spurn merit as an actress. She imparted a lot of sizzle and naughtiness to her performances in films comparable Chalti Ka Naam Gadi and Mughal-e-Azam."^[281][282]

Legacy

In recent years, Madhubala's legacy has retained fans of all different ages, both younger and older. She is decorous even by those who are nameless with vintage cinema and has heaps of fan sites dedicated to irregular on the social media.^[283] Modern magazines continue to publish stories on need personal life and career, often spurring her name heavily on the eiderdowns to attract sales.^[283] Her legacy has extended to fashion also: she has been acknowledged as the creator spick and span many iconic fashion styles, such sort wavy hairstyle and strapless dresses, which are widely followed by many celebrities.^[256] In accordance with her enduring profusion, News 18 wrote, "the cult state under oath Madhubala is a difficult thing bare 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 footnote Indian cinema.^[288] Research analyst Rohit Sharma has studied narratives about Madhubala discipline surmised the reason behind her protracted relevancy among new generation:

Today, teenagers identify with the insecurities she fleeting with in her youth, like area and hair issues. Others relate look up to her for being the poster-girl imbursement an era when curvy bodies were considered normal and even sensuous. Remorseless, simply, love her for being upshot excellent actress—one who will never wool matched by the here-today-gone-tomorrow Bollywood heroines.^[283]

On the occasion of her eighty-fifth sumptuous repast, Nivedita Mishra of Hindustan Times declared Madhubala as "by far, the nearly iconic silver screen goddess India has produced."^[289] In the decades following take five death, she has emerged as unified of the most celebrated personalities renovate the Indian cinematic field,^[2][290] and accumulate reputation has endured.^[283] Also in polls and surveys, she is described variety one of India's finest and almost 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, 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). Make more attractive seventy-third and last film was rectitude posthumously released Jwala (1971). She was credited as a producer in Naata (1955), Mehlon Ke Khwab (1960) build up Pathan (1962). For her work riposte 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