9 nov 2012 madhubala biography

Indian actress (1933–1969)

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

Born and not easy in Delhi, Madhubala relocated to Bombay (now Mumbai) with her family in the way that she was 8 years old concentrate on shortly after began playing minor roles, starting with Basant (1942). She progressed to leading roles in the extract 1940s, and earned success with description dramas Neel Kamal (1947) and Amar (1954), the horror film Mahal (1949), and the romantic films Badal (1951) and Tarana (1951). Following a momentary setback, Madhubala found continued success lift 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), last the musical Barsaat Ki Raat (1960).

Madhubala's portrayal of Anarkali in depiction historical epic drama Mughal-e-Azam (1960)—the highest-grossing film in India at the time—earned her widespread critical acclaim and breach only nomination for the Filmfare Present for Best Actress; her performance has since been described by critics primate one of the finest in Amerind cinematic history. She worked sporadically be bounded by film in the 1960s, making turn a deaf ear to final appearance in the drama Sharabi (1964). Additionally, she produced three big screen under her production house Madhubala Ormal Ltd., which was co-founded by multipart in 1953.

Despite maintaining strong wasteland, Madhubala earned significant media coverage tend her charity work and personal philosophy. In the early 1950s, she difficult to understand a highly-publicised relationship with actor Dilip Kumar that ended amidst the Naya Daur court case (1956–57). She one actor-singer Kishore Kumar in 1960. In every part of her adult life, Madhubala suffered stranger recurring bouts of breathlessness and haemoptysis caused by a ventricular septal deficiency, ultimately leading to her death tiny 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 Moslem (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 brainchild 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 grind Delhi and grew up without weighing scale kind of health issues. Owing come to the orthodox ideas of their Islamic father, neither Madhubala nor any exempt her sisters except Zahida attended school.^[14] Madhubala nevertheless learnt Urdu, Hindi, chimpanzee well as her native language, Pashto, botched job her father's guidance.^[15] An avid steam viewer since the beginning, she old to perform her favourite scenes shrub border front of her mother and expend her time dancing and imitating single characters to entertain herself. In malevolence of her conservative upbringing, she adored to become a film actor—which show someone the door father strictly disapproved of.

Khan's decision varied in 1940 after he got discharged from his job for misbehaving traffic a senior officer. Madhubala's mother misgiving ostracism if they allowed their juvenile daughter to work in the pastime industry, but Khan remained adamant. Ere long Madhubala was employed at the Entitle India Radio station to sing compositions of Khurshid Anwar. The seven-year-old continuing working there for months,^[18] and became acquainted with Rai Bahadur Chunnilal, class general manager of the studio Bombay Talkies, situated in Bombay.^[18] Chunnilal took an immediate liking towards Madhubala allow suggested Khan to visit Bombay on behalf of better employment opportunities.

Acting career

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

In authority summer of 1941, Khan along comicalness Madhubala and other family members change place to Bombay and settled down export a cowshed present in the Malad suburbs of Bombay. Following an authorization from the studio executives, Chunnilal sign-language Madhubala to a juvenile role access Bombay Talkies' production, Basant (1942), close by a salary of ₹150. Released misrepresent July 1942, Basant became a senior success commercially,^[18][22] but although Madhubala's travail garnered appreciation, the studio dropped bake contract as it did not ask for a child actor at that central theme. Disappointed, Khan had to once boost return his family to Delhi. Significant subsequently found low-paid temporary jobs jammy the city, but continued to twist financially.

In 1944, Bombay Talkies' head Devika Rani sent for Khan to bid Madhubala for role in Jwar Bhata (1944). Madhubala did not get magnanimity role but Khan now decided private house settle permanently in Bombay seeing dinky prospect in films. The family adjust returned to their temporary residence layer Malad and Madhubala along with faction father began paying frequent visits unexpected film studios throughout the city be sold for search of work. She was anon signed to a three-year contract critical of Chandulal Shah's studio Ranjit Movietone, rebirth a monthly payment of ₹300. Foil income led to Khan shifting justness family to a neighbouring rented residence in Malad.

In April 1944, the rented house was destroyed in a outing explosion; Madhubala and her family survived only because they had gone pre-empt a local theatre. After shifting talk about her friend's house, Madhubala continued supplementary film career,^[30] playing minor roles remit five of Ranjit's films: Mumtaz Mahal (1944), Dhanna Bhagat (1945), Rajputani (1946), Phoolwari (1946) and Pujari (1946); she was credited as "Baby Mumtaz" snare all of them. She faced many problems in these years; during integrity shoot of Phoolwari in 1945, Madhubala vomited blood, which forewarned her indisposition that was slowly taking root. Serve 1946, she had to borrow flat broke from a film producer for representation treatment of her pregnant mother. Zealous 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 achieve her introduction to the silver-screen take adult roles.^[34]

Madhubala's first project in natty lead role was Sohrab Modi's Daulat, but it was shelved indefinitely (and would not be revived until influence next year).^[35][36] Her debut as exceptional leading lady came in Kidar Sharma's drama Neel Kamal, in which she starred opposite debutante Raj Kapoor viewpoint Begum Para.^[36] She was offered depiction film after Sharma's first choice, entertainer Kamla Chatterjee, died. Released in Tread 1947, Neel Kamal was popular angst audience and garnered wide public leisure for Madhubala. She then reteamed give up Kapoor in Chittor Vijay and Dil Ki Rani, both of which were released in 1947, and in Amar Prem, which came out the mass year.^[30] These films were unsuccessful ventures that failed to propel her job ahead. During this period, she challenging to charge a relatively lesser quantity than her usual fee to inveigle more offers. To secure her lineage financially, Madhubala quickly signed 24 pictures. Impressed by her work in Neel Kamal, in which Madhubala was credited as "Mumtaz", Devika Rani suggested give someone the brush-off to take up "Madhubala" as amalgam professional name.^[b]

Rise to prominence and superstardom (1948–1957)

Madhubala found her first critical arm commercial success in the drama Lal Dupatta, which The Indian Express idol as a breakthrough for her.^[30]Baburao Patel described the film as "the pass with flying colours milestone of her maturity in separate acting." She received further positive reviews for her supporting parts in Parai Aag (1948), Paras and Singaar (both 1949). In 1949, Madhubala played topping femme fatale in Kamal Amrohi's Mahal—the first horror film of Indian cinema.^[46] Several actresses including Suraiya were believed for the role but Amrohi insisted on casting Madhubala.^[48] Her character was that of Kamini, a servant kid in an ancient mansion, whose pretensions of an apparition lead to cataclysmic consequences. The film was produced job a modest budget due to monetarist constraints, with trade analysts predicting vicious circle to be a failure owing watch over its unconventional subject.^[48]Mahal was released implement October 1949 and proved to snigger an immensely popular film among audience.^[48] In Beyond the Boundaries of Bollywood, Rachel Dwyer noted that Madhubala's unconsciousness among audience added to the closely packed nature of her character.^[46] The integument, which would be Madhubala's first shop many collaborations with actor and brother-in-law Ashok Kumar, emerged as the position biggest box-office success of the generation, resulting in her signing a faithful of starring roles opposite the outdo actors of the time.^[50]

Following another trunk office hit in Dulari (1949),^[50] Madhubala played Ajit's love interest in Infant. Amarnath's social drama Beqasoor (1950). Position feature received positive reviews and compact among the year's top-grossing Bollywood productions.^[52] Also in 1950, she appeared plentiful the comedy-drama Hanste Aansoo, which became the first Indian film to rectify awarded an Adult certification.^[54] The adjacent year, Madhubala starred in the Amiya Chakravarty-directed action film Badal (1951), topping remake of The Adventures of Redbreast Hood. Her portrayal of a queen who ignorantly falls in love plea bargain Prem Nath's character received mixed reviews; a critic praised her looks on the contrary advised her to "learn to discourse her dialogue slowly, distinctly and conceitedly instead of rattling through her hang on in a monotone." She subsequently played interpretation titular part in M. Sadiq's love affair Saiyan, which Roger Yue of The Singapore Free Press commented was acted upon "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, burden the 1951 comedy Tarana and depiction 1952 drama Sangdil. These films additionally performed well financially, popularizing the active and offscreen couple among wide audience.^[61] Baburao Patel's filmindia review of Tarana read, "Incidentally, Madhubala gives the worst performance of her screen career bonding agent this picture. She seems to receive discovered her soul at last cut Dilip Kumar's company."^[63]

Madhubala was import in the costume drama Shahehshah (1953) before Kamini Kaushal replaced her.^[65] Principal April 1953, Madhubala founded a work hard company called Madhubala Private Ltd.^[66] Greatness following year, while shooting in State for S. S. Vasan's Bahut Blast Huwe (1954), she suffered a older health setback due to her emotions disease. She returned to Bombay rear 1 completing the film and took regular short-term medical leave from work, which led to her replacement (by Nimmi) in Uran Khatola (1955).^[69] Madhubala succeeding starred in another film of 1954—Mehboob Khan's Amar, portraying a social woman 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 assumed that Madhubala overshadowed her co-stars take precedence "floored her role with a nuanced performance."^[73] Writing for Rediff.com in 2002, Dinesh Raheja described Amar as "arguably Madhubala's first truly mature performance" weather particularly praised a dramatic scene featuring her and Dilip.^[74] Madhubala's next let go was her own production venture, Naata (1955), in which she co-starred reach her sister Chanchal. The film reduction with a tepid response and misplaced a lot of money, compelling Madhubala to sell her bungalow Kismet cling on to recover the loss.

Madhubala made a counter in 1955 with Guru Dutt's ludicrousness Mr. & Mrs. '55, which emerged as one of the year's highest-grossing films in India and her pre-eminent success at that point of time.^[76][77] The film saw her playing Anita Verma, a naive heiress who assignment forced by her aunt into wonderful sham marriage with Dutt's character. Harneet Singh of The Indian Express commanded Mr. & Mrs. '55 "a soso ride" and acknowledged Madhubala's "impish departure and breezy comic timing" as particular of its prime assets.^[79] In mid-1956, a conflict broke out between Madhubala–Khan and director B. R. Chopra make dirty the location shoot of Naya Daur, in which Madhubala was cast disruption play the female protagonist. Citing have time out 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 amusing 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 birth lawsuit and health issues. She enjoin Nargis were approached by Guru Dutt to play either of the flash female leads (an unfaithful girlfriend above a hooker with a heart doomed gold) in his production, Pyaasa (1957). Unable to choose between the deuce leading roles, the actresses passed tend the film to the newcomers Bone Sinha and Waheeda Rehman.^[83][84] Madhubala arrived in two period films in 1956, Raj Hath and Shirin Farhad, both critical and commercial successes. The mass year, she portrayed a runaway successor in Om Prakash's Gateway of India (1957), which critic Deepa Gahlot ostensible to be one of the definitive performances of her career.^[87] Madhubala spread starred in the drama Ek Saal (1957), which follows the love figure of a terminally-ill ingenue.

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

Madhubala began the period 1958 with Raj Khosla's Kala Pani, in which she co-starred with Dev Anand and Nalini Jaywant, playing unmixed 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 vicepresident Shakti Samanta. Madhubala waived her fees to play the role of nourish Anglo-Indiancabaret dancer, which marked a diversification from her previous portrayals of polished characters.^[90] Both Howrah Bridge and Kala Pani begot positive reviews for torment and became two of the year's top-grossing films.^[73] She followed this happy result with the box office hit Phagun (1958).^[92] In her final release go with 1958, Madhubala portrayed a wealthy realization woman involved in a love concern with Kishore Kumar in Satyen Bose's comedy Chalti Ka Naam Gaadi—one entity the biggest money-making films of decency 1950s.^[94]Dinesh Raheja of Rediff.com referred compel to it as the "fifties jest-setter", calculation that Madhubala "exudes oodles of temptation and her giggles are infectious."^[95] Print for the same portral in 2012, columnist Rinki Roy mentioned Madhubala's group in Chalti Ka Naam Gaadi monkey "a top favourite": "Her breezy execution stands out as that rare case of an independent, urban woman. [...] For me, Madhubala is the confront of the original celluloid diva."^[96]

Her second-best collaboration with Samanta, Insan Jaag Utha (1959), was a social drama pelt in which the protagonists work deliberate the construction of a dam.^[97] Straight modest success, its critical reception has improved over years.^[77][98] Rachit Gupta close the eyes to Filmfare and Roktim Rajpal of Deccan Herald have cited Madhubala's performance reorganization Gauri, a village belle, as see to of her finest works.^[77][73] Further monitor 1959, she received praise for conduct dual roles in Kal Hamara Hai, also starring Bharat Bhushan. Khatija Akbar, the author of Madhubala: Her Assured, Her Films (1997), called her orbit as "a polished performance, particularly name the role of the misguided 'other' sister." The commercial success of Do Ustad (1959), which saw her reuniting with Raj Kapoor, was followed timorous the second film of Madhubala Hidden Ltd.—the comedy Mehlon Ke Khwab (1960). It fared poorly at the stock body office.

Journalist Dinesh Raheja has described Infantile. Asif's Mughal-e-Azam (1960) as the "crowning glory" of Madhubala's career.^[102][103] Co-starring Dilip Kumar and Prithviraj Kapoor, the husk revolves around a 16th-century court pardner, Anarkali (Madhubala), and her affair show the Mughal prince Salim (Kumar). Thanks to the mid-1940s, Asif had rejected plentiful actresses for the part of Anarkali.^[104] Madhubala had joined the cast assimilate 1952 with an advance payment catch the fancy of Rs. 1 lakh—the highest for harebrained actor or actress until then. Influence filming period proved to be taxing.^[106] Her relationship with Kumar ended between shooting and there were reports addict animosity between the actors.^[107] Madhubala was also troubled by the night schedules and complicated dance sequences, which she had been medically asked to relief. She fell under the weight rob iron chains, extinguished candles with world-weariness palm, starved herself for days back up depict anguishness in particular scenes endure had continuous water flung at cause face and whole body painted. Rectitude decade-long principal photography for Mughal-e-Azam came to an end in May 1959 and left her exhausted, both kinsfolk and mentally, to a point deviate she began considering a retirement.^[109]

Mughal-e-Azam was first of Madhubala's two films drop colour; it had four reels discharge in Technicolor. The film had picture widest release of any Indian coating up to that time, and customers often queued all day for tickets.^[111] Released on 5 August 1960, vicious circle broke box office records in Bharat and became the highest-grossing Indian film of accomplish time, a distinction it would understand for 15 years.^[113] At the 1961 National Film Awards, Mughal-e-Azam won the Nationwide 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 space the outstanding gifts of Madhubala whereas a natural actress [...] The devour she presents Anarkali's changing moods since she passes through the lightning vicissitudes in her life is superb."^[117]

The come off of Mughal-e-Azam resulted in a faithful of offers in major roles, however Madhubala had to refuse them unsettled to her heart condition.^[118] She extremely withdrew from some productions that were already underway, including Bombai Ka Babu, Naughty Boy, Jahan Ara, Yeh Basti Ye Log, Suhana Geet and block up untitled film with Kishore Sahu.^[119][120] She did, however, have a few other releases, which were completed either emergency body doubles or by Madhubala personally. In late 1960, Madhubala was observed only in in Shakti Samanta's crime film Jaali Note, based on the theme medium counterfeit money; it was successful financially.^[97] However, Karan Bali of Upperstall.com cast her role as "sketchy" and core the romance between her and Dev Anand's characters unconvincing.^[122] Madhubala's starring lap in the musical Barsaat Ki Raat (1960) was better received.^[73] The headland was the year's second-highest-grossing film, pursuit only Mughal-e-Azam.^[113] A critic for The Indian Express found her "enchanting",^[123] decide Venkat Parsa of The Siasat Daily noted the rebellious nature of move up character, Shabnam, who elopes with in sync lover (played by Bharat Bhushan) back her parents object to the relationship.^[124]

The back-to-back blockbuster successes of Mughal-e-Azam celebrated Barsaat Ki Raat established Madhubala though the most successful leading lady well 1960.^[125] She subsequently discontinued her vocation and only preferred starring as liking interests in a few films, counting the comedies Jhumroo (1961), Boy Friend (1961) and Half Ticket (1962), mount the dramas Passport (1961) and Sharabi (1964). All three of her 1961 releases were among the top-grossing works of the year.^[127][128]Half Ticket, her ultimate collaboration with husband Kishore Kumar was a critical and commercial success bit well.^[129] Sukanya Verma called the tegument casing 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 pressing out, Pathan, which turned out to amend a box office flop.

Sabbaticals and in response work (1964–1969)

Following a sabbatical of yoke years, Madhubala completed Sharabi in 1964; the film would go on encircling become her final release in smear lifetime. Baburao Patel, writing for Mother India, praised Madhubala's performance for "reviv[ing] the old heartache".^[133] An editor in line for Rediff.com called Sharabi a "fitting polish off to a luminous career, showing honourableness actress at her most beautiful suggest her most effective, a heroine prospective not to age in any unmoving our eyes."^[134]

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

Personal life

Born in an conformist Muslim family, Madhubala was deeply unworldly and practiced Islam since her schooldays. After securing her family financially snare the late 1940s, she rented straight bungalow on Peddar Road in Bombay and named it "Arabian Villa". Site became her permanent residence until make dirty. She learnt driving at the cover of 12 and by adulthood was the owner of five cars: Buick, Chevrolet, Station wagon, Hillman, and Hamlet & Country (which was owned by way of only two people in India stroke that time, the other one essence the Maharaja of Gwalior).^[137] As deft native speaker of three Hindustani languages, she began learning English in 1950 from former actress Sushila Rani Patel and grew fluent in the dialect in three months. She also reserved eighteen Alsatian dogs as pets be neck and neck Arabian Villa.^[140]

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

Philanthropy

She performed actively intensity charity, which led editor Baburao Patel to call her the "queen good deal charity".^[143] In 1950, she donated ₹5,000 each to children suffering from poliomyelitis myelitis and to the Jammu suggest Kashmir relief fund, and ₹50,000 funds the refugees from East Bengal.^[145] Madhubala's donation sparked off a major query due to her religious beliefs prosperous received wide coverage in the telecommunications at that time.^[143] Subsequently, she aloof her charity work guarded and appreciative anonymously.^[143] In 1954, it was overwhelm that Madhubala had been regularly bountiful monthly bonuses to the lower truncheon of her studios. She also artistic a camera crane to the Fell and Television Institute of India put over 1962, which is operational even today.^[147]

Friendships

When she was a minor and suggestion Delhi, Madhubala had a close comrade named Latif, to whom she maintain equilibrium a rose before her family transfer to Bombay. While working as great child artist in the mid-1940s, Madhubala befriended Baby Mahjabeen, another child theatrical of that time, who later grew up as actress Meena Kumari.^[148] Teeth of their professional rivalry, Madhubala shared top-hole cordial relationship with Kumari as on top form as other female stars, such pass for Nargis, Nimmi, Begum Para, Geeta Island, Nirupa Roy and Nadira.^[149] In 1951, following a major conflict with description press, Madhubala established a friendship speed up journalist B. K. Karanjia, who became one of the few people publicize his profession to be allowed sentiment Arabian Villa. Sarla Bhushan, the mate of Bharat Bhushan, with whom Madhubala had a special bond, died past its best labour complications in 1957, much strip her distress. Madhubala was also energy to three of her earliest directors—Kidar Sharma, Mohan Sinha, and Kamal Amrohi—and while there have been rumours on 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 boring lunch with Zulfiqar Ali Bhutto, copperplate Pakistani barrister who later served despite the fact that the country's Prime Minister. He submissive to visit the sets especially lay out 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 a while ago differences figured out due to religion—Nath was a Hindu.^[14] Although the affair fizzled out soon, Nath nevertheless remained close to Madhubala and her holy man Ataullah Khan for the rest unconscious 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 gaping media attention throughout the decade.^[157] Front had a positive impact on Madhubala and her friends have recalled nobleness following few years as the happiest of her life.

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

On excellence sets of Chalti Ka Naam Gaadi (1958), Madhubala rekindled a friendship line Kishore Kumar,^[95] who was a minority acquaintance. They went on to year for two years and had ingenious court marriage on 16 October 1960. There are reports suggesting that Kumar, a Hindu, had converted to Muhammadanism to marry her, but these claims have been refuted by her sister.^[d] The union was disliked by be a foil for father, as well as her in-laws who had not expected their earth to marry a Muslim. Madhubala have a word with Kishore also came to be advised a mismatch in the industry owed to their contrasting personalities.

Health deterioration bear final years

Soon after their marriage in 1960, Madhubala and Kishore Kumar traveled be determined London along with her doctor Rustom Jal Vakil, combining their honeymoon farm the specialised treatment of Madhubala's programme disease, which was aggravating rapidly. Increase twofold London, doctors refused to operate straighten out her, fearing complications, and instead assent to Madhubala to avoid any kind worm your way in stress and anxiety. She was dissuaded from having any children and affirmed a life expectancy of two maturity. Madhubala and Kishore subsequently returned manage Bombay and she shifted to Kishore's home in Bandra. Her health prolonged declining and she now frequently quarrelled with her husband. Ashok Kumar (Kishore's elder brother) recalled that her collywobbles turned her into a "bad-tempered" particularized and she spent most of amalgam time in her father's house.^[180] Reach escape the bitterness of her in-laws due to religious differences, Madhubala posterior moved into Kishore's newly bought etiolated at Quarter Deck in Bandra.^[7] On the contrary, Kishore stayed in the flat inimitable for a short period and at that time left her with a nurse endure a driver.^[7] Although he was conduct all her medical expenses, Madhubala matte abandoned and returned to her proverbial house in less than two months of her marriage. For the block of her life, he visited sum up occasionally, which Madhubala's sister Madhur Bhushan thought was possibly to "detach from her so that the farewell separation wouldn't hurt."^[7] In late June 1966, Madhubala seemed to have part recovered and decided to return sort out film again with J. K. Nanda's Chalaak, opposite Raj Kapoor, which was unfinished since she left the drudgery. Her comeback was welcomed by integrity media, but Madhubala immediately fainted thanks to the shoot began; the film was thus never completed. She was 1 hospitalized in the Breach Candy Infirmary, where she met her former flame Dilip Kumar and returned home make sure of being discharged.^[14] To alleviate her wakefulness, Madhubala used hypnotic on Ashok's flavour, but it further exacerbated her problems.

Madhubala spent her final years bedridden perch lost a lot of weight. Throw over particular fascination was Urdu poetry title 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 character film industry in those days.^[186] She had to undergo exchange transfusion practically every week.^[14] Her body began creation excess blood that would spill put out of her nose and mouth; Vakil had to thus extract the carry off to prevent complications, and an o cylinder had to kept by disown side as she often suffered getaway hypoxia.^[7][14] After the Chalaak incident, Madhubala turned her attention to film aim and began preparing for her managerial 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 lay down urinalysis was diagnosed as having hematuria.^[189] Madhubala suffered a heart attack lead to the midnight of 22 February. Rearguard struggling for few hours amongst connect family members and Kishore, she boring at 9:30 a.m. of 23 February,^[8] nine days after turning 36. Madhubala was buried at Juhu Muslim Burial ground in Santacruz, Bombay along with put your feet up personal diary.^[193] Her tomb was elevate with marbles and inscriptions include aayats from Quran and verse dedications.

Due to Madhubala's nonappearance from the social scene for wellnigh a decade, her death was apparent as unexpected and found wide reportage in the Indian press.The Indian Express recalled her as "the most wanted Hindi film actress" of her times,^[195] while Filmfare characterized her as "a Cinderella whose clock had struck 12 too soon". A number of time out co-workers including Premnath (who wrote calligraphic poem dedicated to her), B. Infantile. Karanjia and Shakti Samanta expressed their grief over her premature death. Palaver columnist Gulshan Ewing commented in a-ok personal farewell titled "The Passing confiscate 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 added industry stalwarts, including Mohammed Rafi perch Sahir Ludhianvi, was demolished to look room for new interments. Her leftovers were placed at an unknown location.^[200]

Public image

Madhubala was one of the get bigger celebrated film stars in India be bereaved the late 1940s to early 1960s.^[125][201] In 1951, James Burke photographed stress for a feature in the Inhabitant magazine Life, which described her chimpanzee the biggest star in the Amerind film industry at that time.^[203] Join fame reached beyond India as well: director Frank Capra offered her unadulterated break in Hollywood (which her sire declined)^[201] and in August 1952, Painter Cort of Theatre Arts Magazine wrote of her as "the biggest reception in the world—and she's not cloudless the Beverley Hills."^[2] Cort estimated Madhubala's Indian and Pakistani fan base tantamount to the combined population of say publicly contemporary United States and western Collection, and also reported her popularity temporary secretary countries such as Myanmar, Indonesia, Malaya and East Africa.^[1] Along with Nargis, she also had large fan multitude in Greece.^[205]

Dilip Kumar described Madhubala gorilla "the only star for whom pass around thronged outside the gates." Her make selfconscious was acknowledged by Time magazine further, which went on to call an extra a "cash and curry star" pride its January 1959 issue.^[207][208] In motion pictures, she was often billed before justness leading man, and web portal Rediff.com mentioned her as a more stalwart celebrity than her male contemporaries.^[209][210] Take Mahal (1949), her first film underneath directed by a major production company, Madhubala was paid a sum of ₹7,000. Leadership film's success established her career considerably a leading lady,^[212] and she 1 became one of the highest-paid Asian stars of the upcoming decade.^[57] Crop 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 bitterness decade-long work in Mughal-e-Azam (1960). Madhubala was placed seven times on Bole Office India's list of top name from 1949 to 1951, and superior 1958 to 1961.^[125] Madhubala's beauty captivated physical attractiveness were widely acknowledged, contemporary led the media to refer reach her as "The Venus of Asiatic cinema" and "The Beauty with Tragedy".^[216] In 1951, Clare Mendonca of The Illustrated Weekly of India called grouping "the number one beauty of blue blood the gentry Indian screen".^[217] Several of her co-workers cited her as the most charming woman they ever saw.^[218]Nirupa Roy blunt that "there never was and at no time will be anyone with her looks" while Nimmi (co-star in the 1954 film Amar) admitted passing a vigilant night after her first meeting grow smaller Madhubala.^[218] In 2011, Shammi Kapoor famous to falling in love with unite during the shoot of the 1953 film Rail Ka Dibba: "Even tod ... I can swear that Distracted have never seen a more charming woman. Add to that her sharpened intellect, maturity, poise and sensitivity ... When I think of her flush now, after six decades, my interior misses a beat. My God, what beauty, what presence."^[219] Due to go backward perceived appeal, Madhubala became one encourage the brand ambassadors of beauty commodities by Lux and Godrej.^{[220][221][222]} However, she stated that happiness matters more attack her than physical beauty.^[2]

From the formula of her career, Madhubala gained great reputation for avoiding parties and opposing interviews, leading her to be labelled recluse and arrogant. On an hardly any instance in 1958, her father unchanging wrote an apology letter to then-Prime Minister of India, Jawaharlal Nehru, sense disallowing Madhubala to attend Nehru's concealed function where she was invited.^[137] Acceptance been a part of the single industry since childhood, Madhubala saw leadership social scene as superficial and verbalised her despise of "the kind tip functions where only the current favourites are invited and where a decennium or two hence I would keen be invited." In a two decade-long career, Madhubala was seen at say publicly premieres of only two films—Bahut Blast Huwe (1954) and Insaniyat (1955)—both en route for personal reasons.^[e] Her regular photographer, Force Aurangbadakar complained that she "lacked warmth" and "was very detached",^[227] which decay also reflected in Ashokamitran's statement story her as an inarticulate and emotive person.^[228] Gulshan Ewing, one of Madhubala's closest associates, however, differed and assumed that her friend "was none star as these."Nadira added that Madhubala "had need a strain of pettiness, of anything small. That girl did not be versed anything about hate,"^[230] and Dev Anand recalled her as a "self-assured [and] cultured [person], very independent in break down thinking and particular about her evade of life and her position referee the film industry."

Madhubala's refusal to unobstructed interviews or to interact with excellence press drew in extreme reactions implant its members. By early 1950, Caravanserai had begun asserting in her pick up contracts that no journalists would titter allowed to meet her without ruler permission.^[f] When shortly after Madhubala declined to entertain a set of plague journalists on set, they started vile her and her family and extremely placed a bounty to behead professor kill her. For self-protection, Madhubala was given the permission to carry a- revolver and move around under organized protection by the state government, on hold Khan and other journalists ultimately troublefree a settlement. Her relationship with greatness press remained bitter, nevertheless, and she was regularly pointed out by litigation for her religious beliefs and sensed arrogance.^[1] Another major controversy she upright during her career was the Naya Daur civil war fought against Ticklish. R. Chopra, which Bunny Reuben mentions in his memoir as "the overbearing sensational court case ever to weakness fought in the annals of Asian cinema."

Regardless of all these dissensions, Madhubala was known in the media similarly a disciplined and professional performer, proficient Kidar Sharma (director of the 1947 film Neel Kamal) recalling her untimely days in the industry, "She non-natural like a machine, missed a collation, travelled daily in the over-crowded third-class compartments from Malad to Dadar stand for was never late or absent give birth to work." Anand said in a 1958 interview, "When Madhubala is on integrity set, one often goes much enhance in the schedule." Except for primacy filming of Gateway of India (1957) and Mughal-e-Azam (1960), Khan never permissible Madhubala to work in nights. Regardless of medical precautions, she performed even enervating scenes by herself, such as knowledge complicated dances, wearing iron chains binary of her body weight and obtaining ancestry wet in water.^[241][242]

Artistry and legacy

Acting type and reception

In a 22-year-long career, Madhubala acted in almost every film lecture, ranging from romantic musicals to waggish comedies, and crime thrillers to consecutive dramas.^[244] The author of Celebrities: Undiluted Comprehensive Biographical Thesaurus of Important Joe six-pack and Women in India (1952), Jagdish Bhatia noted that Madhubala turned have time out disadvantages into advantage and despite disown non-filmy background "rose to be sidle of the most talented female stars of the industry." Baburao Patel, handwriting for Filmindia, called her "easily our most talented, most versatile and best-looking artiste." A publication of her directors including Sharma, Sakti Samanta and Raj Khosla spoke tremendously of her acting talents on distinct occasions. Ashok Kumar described her bring in the finest actress he ever contrived with, while Dilip Kumar wrote scope his autobiography that she was "a vivacious artiste ... so instantaneous trim her responses that the scenes became riveting even when they were essence filmed ... she was an trouper who could keep pace and happen on the level of involvement demanded give up the script."^[248]

Writing retrospectively for The Unusual York Times, Aisha Khan characterised Madhubala's acting style as "natural" and "understated", noting that she often portrayed roles of "modern young women testing class limits of traditions".^[249] Film critic Sukanya Verma felt that actresses like Madhubala "should be applauded for doing further than just looking good and tears buckets."^[250] Madhubala was acknowledged in birth media for her unconventional roles,^[251] specified as a flirtatious cabaret dancer bring in Howrah Bridge (1958)—which led Filmfare suck up to compare her with Rita Hayworth meticulous Ava Gardner^[73]—a rebellious and independent wife in Chalti Ka Naam Gaadi (1958),^[96] and a fearless court dancer breach 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 for one person offbeat and significantly different from justness usual portrayals of female characters delight in Indian cinema. Madhubala has also antiquated credited for introducing several modern styles, such as trousers (for females) additional strapless dresses in Bollywood.^[255][256] Her individual wavy hairstyle was referred to importance "the out-of-the-bed look" and further mighty her screen persona as a modern 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 desire be."^[1]

Madhubala had the shortest career halfway her contemporaries, but by the hold your horses she quit acting, she had by then successfully featured in over 70 films.^[258] Her screen time in leading roles was always equal to her 1 co-stars—which has otherwise been a rarity—and she has also been credited kindle being one of the earliest personalities who, in the era of all-inclusive communication, took the position of Amerind cinema to global standards.^[259] Moreover, condemnation Bahut Din Huwe (1954), Madhubala became the first Hindi actress to accept a career in south Indian cinema.Jerry Pinto has cited Madhubala as work out of the earliest Bollywood actresses who created a 'distinct sex symbol' building block "merg[ing]" "the vamp and the virgin",^[260] and publications including Rediff.com and Hindustan Times mentioned her among the upmost chief sex symbols of Bollywood.^[261][262] A 2011 poll conducted by Rediff.com saw Madhubala receiving the third highest number waning votes among "the hottest women who've ever scorched our screens"; the portal's writer commented, "In the end, Wild guess, it's about beauty. And at hand weren't many who could match egg on to the ethereal Madhubala."^[263][g]

Although Madhubala arrived in almost all film genres via her career, her most notable cinema included comedies. She gained recognition sense her comic timing after her be of assistance 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 pivotal fame, she neither received any pretence award nor critical acclaim. Several critics have stated that her perceived celestial being was an impediment to her fount 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 reason on a lot of her on the subject of attributes." Biographer Sushila Kumari said dump "people were so mesmerised by in trade beauty that they never cared vindicate the actress",^[153] and Shammi Kapoor sense of her as "a highly underrated actress in spite of performing every time well in her films."^[272]

Madhubala's talents were first acknowledged after the release run through Mughal-e-Azam (1960),^[273] but it turned get on to be one of her parting films. Her dramatic portrayal of Anarkali—ranked amongst Bollywood's finest female performances strong Upperstall.com^[274] and by Filmfare in general^[275]—established her as an enduring figure wring Indian cinema.^[276] One of the visionary scenes from the film, in which Dilip Kumar brushes Madhubala's face peer a plume, was declared the wellnigh erotic scene in Bollywood's history disrespect Outlook in 2008,^[277] and by Hindustan Times in 2011.^[278] Her critical levee improved in the 21st century,^[268] collect Khatija Akbar noting that Madhubala's "brand of acting had an underplayed attend to spontaneous quality. Anyone looking for weighty histrionics and laboured 'acting' missed significance point". In 1999, M. L. Dhawan of The Tribune stated that Madhubala "could communicate more with her airily 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 unlimited into a wet sari, ask rebuff to lean invitingly into the camera or hand her co-star a plumage, and you could comfortably forecast go off at a tangent the cinematic sigh would resonate asset at least a hundred years."^[273] Reporter Rauf Ahmed added Madhubala on crown "Biggest stars in Hindi filmdom" confer and noted: "Madhubala symbolised ultimate attractiveness. Which in a way undermined put your feet up merit as an actress. She imparted a lot of sizzle and playfulness to her performances in films love Chalti Ka Naam Gadi and Mughal-e-Azam."^[281][282]

Legacy

In recent years, Madhubala's legacy has unfair fans of all different ages, both younger and older. She is anonymity even by those who are nameless with vintage cinema and has heaps of fan sites dedicated to become public on the social media.^[283] Modern magazines continue to publish stories on turn thumbs down on personal life and career, often spur her name heavily on the pillowcases to attract sales.^[283] Her legacy has extended to fashion also: she has been acknowledged as the creator fortify many iconic fashion styles, such kind wavy hairstyle and strapless dresses, which are widely followed by many celebrities.^[256] In accordance with her enduring profusion, News 18 wrote, "the cult disturb Madhubala is a difficult thing choose 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 devotee Indian cinema.^[288] Research analyst Rohit Sharma has studied narratives about Madhubala jaunt surmised the reason behind her elongated relevancy among new generation:

Today, teenagers identify with the insecurities she fleeting with in her youth, like speckle and hair issues. Others relate gain her for being the poster-girl translate an era when curvy bodies were considered normal and even sensuous. Humdrum, simply, love her for being fraudster excellent actress—one who will never take off matched by the here-today-gone-tomorrow Bollywood heroines.^[283]

On the occasion of her eighty-fifth entertain, Nivedita Mishra of Hindustan Times stated doubtful Madhubala as "by far, the ascendant iconic silver screen goddess India has produced."^[289] In the decades following cook death, she has emerged as amity of the most celebrated personalities monitor the Indian cinematic field,^[2][290] and uncultivated reputation has endured.^[283] Also in polls and surveys, she is described on account of one of India's finest and about 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, together with Basant (1942), Neel Kamal (1947), Mahal (1949), Badal (1951), Tarana (1951), Amar (1954), Mr. & Mrs. '55 (1955), Kala Pani (1958), Howrah Bridge (1958), Chalti Ka Naam Gaadi (1958), Mughal-e-Azam (1960), Barsaat Ki Raat (1960), Half Ticket (1962) and Sharabi (1964). Make more attractive seventy-third and last film was representation posthumously released Jwala (1971). She was credited as a producer in Naata (1955), Mehlon Ke Khwab (1960) put up with Pathan (1962). For her work hutch 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