21 august 2013 madhubala biography

Indian actress (1933–1969)

Madhubala (born Mumtaz Jehan Begum Dehlavi; 14 February 1933 – 23 February 1969) was an Indian actress who awkward in Hindi films. The country's highest-paid star in the Decennary, Madhubala appeared in over 70 films—ranging from slapstick comedies endorsement historical dramas—in a two decade-long career.^[1] Long after her inattentive, she remains a Bollywood reflection, particularly noted for her spirit and unconventional screen persona.^[2]

Born arena raised in Delhi, Madhubala transfer to Bombay (now Mumbai) versus her family when she was 8 years old and erelong after began playing minor roles, starting with Basant (1942).

She progressed to leading roles pin down the late 1940s, and fitting success with the dramas Neel Kamal (1947) and Amar (1954), the horror film Mahal (1949), and the romantic films Badal (1951) and Tarana (1951). Shadowing a brief setback, Madhubala base continued success with her roles in the comedies Mr.

& Mrs. '55 (1955), Chalti Ka Naam Gaadi (1958) and Half Ticket (1962), the crime movies Howrah Bridge and Kala Pani (both 1958), and the melodic Barsaat Ki Raat (1960).

Madhubala's portrayal of Anarkali in magnanimity historical epic drama Mughal-e-Azam (1960)—the highest-grossing film in India popular the time—earned her widespread dense acclaim and her only berth for the Filmfare Award put under somebody's nose Best Actress; her performance has since been described by critics as one of the world-class archetypal in Indian cinematic history.

She worked sporadically in film currency the 1960s, making her ending appearance in the drama Sharabi (1964). Additionally, she produced couple films under her production household Madhubala Private Ltd., which was co-founded by her in 1953.

Despite maintaining strong privacy, Madhubala earned significant media coverage be attracted to her charity work and in person life.

In the early Decade, she had a highly-publicised arrogance with actor Dilip Kumar turn ended amidst the Naya Daur court case (1956–57). She joined actor-singer Kishore Kumar in 1960. Throughout her adult life, Madhubala suffered from recurring bouts take up breathlessness and hemoptysis caused from one side to the ot a ventricular septal defect, in step leading to her death benefit from the age of 36, hold back 1969.

Early life

Madhubala was inherited as Mumtaz Jehan Begum Dehlavi in Delhi, British India, give out 14 February 1933. She was the fifth of eleven lineage of Ataullah Khan and Aayesha Begum. At least four a selection of Madhubala's siblings died as infants; her sisters who survived in a holding pattern adulthood were Kaneez Fatima (b.

1925), Altaf (b. 1930), Chanchal (b. 1934) and Zahida (b. 1949).^[a] Khan, who belonged tote up the Yusufzai tribe of Pashtuns from Peshawar vale, originating from Swabi District, Northwest Frontier Province^[9] was an 1 at the Imperial Tobacco Company.^[9] Unknown to her family workers, Madhubala was born with fine ventricular septal defect, a constitutional heart disorder which had ham-fisted treatment at the time.^[11][12]

Madhubala weary most of her childhood amplify Delhi and grew up on one\'s uppers any kind of health issues.

Owing to the orthodox essence of their Muslim father, neither Madhubala nor any of on his sisters except Zahida attended school.^[14] Madhubala nevertheless learnt Urdu, Sanskrit, as well as her unbroken language, Pashto, under her father's guidance.^[15] An avid movie viewer by reason of the beginning, she used display perform her favourite scenes straighten out front of her mother current spend her time dancing bid imitating film characters to get about or around herself.

In spite of the brush conservative upbringing, she aimed cling on to become a film actor—which an alternative father strictly disapproved of.

Khan's arbitration changed in 1940 after subside got fired from his association for misbehaving with a postpositive major officer. Madhubala's mother feared isolation if they allowed their in the springtime of li daughter to work in prestige entertainment industry, but Khan remained adamant.

Soon Madhubala was busy at the All India Relay station to sing compositions uphold Khurshid Anwar. The seven-year-old protracted working there for months,^[18] favour became acquainted with Rai Bahadur Chunnilal, the general manager precision the studio Bombay Talkies, misguided in Bombay.^[18] Chunnilal took upshot immediate liking towards Madhubala prep added to suggested Khan to visit Bombay for better employment opportunities.

Acting career

Early work and switch to fullgrown roles (1942–1947)

In the summer motionless 1941, Khan along with Madhubala and other family members reposition to Bombay and settled double up in a cowshed present reveal the Malad suburbs of Bombay.

Following an approval from integrity studio executives, Chunnilal signed Madhubala to a juvenile role inspect Bombay Talkies' production, Basant (1942), at a salary of ₹150. Released in July 1942, Basant became a major success commercially,^[18][22] but although Madhubala's work garnered appreciation, the studio dropped shun contract as it did sob require a child actor consider that time.

Disappointed, Khan difficult to understand to once again return her highness family to Delhi. He 1 found low-paid temporary jobs deduct the city, but continued on a par with struggle financially.

In 1944, Bombay Talkies' head Devika Rani sent irritated Khan to summon Madhubala seize role in Jwar Bhata (1944). Madhubala did not get loftiness role but Khan now contracted to settle permanently in Bombay seeing a prospect in motion pictures.

The family again returned bash into their temporary residence in Malad and Madhubala along with improve father began paying frequent visits to film studios throughout honesty city in search of industry. She was soon signed problem a three-year contract with Chandulal Shah's studio Ranjit Movietone, muse a monthly payment of ₹300. Her income led to Caravansary shifting the family to unadorned neighbouring rented house in Malad.

In April 1944, the rented semidetached was destroyed in a jetty explosion; Madhubala and her consanguinity survived only because they confidential gone to a local play.

After shifting into her friend's house, Madhubala continued her skin career,^[30] playing minor roles focal five of Ranjit's films: Mumtaz Mahal (1944), Dhanna Bhagat (1945), Rajputani (1946), Phoolwari (1946) folk tale Pujari (1946); she was credited as "Baby Mumtaz" in draft of them. She faced many problems in these years; beside the shoot of Phoolwari force 1945, Madhubala vomited blood, which forewarned her illness that was slowly taking root.

In 1946, she had to borrow strapped from a film producer stick up for the treatment of her eloquent mother. Eager to establish unadulterated foothold in the industry, coop November 1946, Madhubala began clever for two of Mohan Sinha's directorial ventures, Chittor Vijay post Mere Bhagwaan, which were reputed to be her introduction finish off the silver-screen in adult roles.^[34]

Madhubala's first project in a plus role was Sohrab Modi's Daulat, but it was shelved for ever (and would not be resuscitated until the next year).^[35][36] Foil debut as a leading female came in Kidar Sharma's scene Neel Kamal, in which she starred opposite debutante Raj Kapoor and Begum Para.^[36] She was offered the film after Sharma's first choice, actress Kamla Chatterjee, died.

Released in March 1947, Neel Kamal was popular be audience and garnered wide be revealed recognition for Madhubala. She substantiate reteamed with Kapoor in Chittor Vijay and Dil Ki Rani, both of which were movable in 1947, and in Amar Prem, which came out excellence following year.^[30] These films were unsuccessful ventures that failed be propel her career ahead.

By this period, she had single out for punishment charge a relatively lesser hardly than her usual fee relating to attract more offers. To energetic her family financially, Madhubala cheerfully signed 24 films. Impressed coarse her work in Neel Kamal, in which Madhubala was credited as "Mumtaz", Devika Rani noncompulsory her to take up "Madhubala" as her professional name.^[b]

Rise equal prominence and superstardom (1948–1957)

Madhubala grow her first critical and remunerative success in the drama Lal Dupatta, which The Indian Express mentioned as a breakthrough demand her.^[30]Baburao Patel described the pick up as "the first milestone reproduce her maturity in screen acting." She received further positive reviews for her supporting parts alter Parai Aag (1948), Paras spreadsheet Singaar (both 1949).

In 1949, Madhubala played a femme fatale in Kamal Amrohi's Mahal—the foremost horror film of Indian cinema.^[46] Several actresses including Suraiya were considered for the role on the contrary Amrohi insisted on casting Madhubala.^[48] Her character was that farm animals Kamini, a servant girl timetabled an ancient mansion, whose pretensions of an apparition lead stick at disastrous consequences.

The film was produced on a modest without fail due to financial constraints, get used to trade analysts predicting it assessment be a failure owing board its unconventional subject.^[48]Mahal was free in October 1949 and three-dimensional to be an immensely wellliked film among audience.^[48] In Beyond the Boundaries of Bollywood, Wife Dwyer noted that Madhubala's sightlessness among audience added to position mysterious nature of her character.^[46] The film, which would acceptably Madhubala's first of many collaborations with actor and brother-in-law Ashok Kumar, emerged as the position biggest box-office success of prestige year, resulting in her symbol a string of starring roles opposite the leading actors come within earshot of the time.^[50]

Following another box sway hit in Dulari (1949),^[50] Madhubala played Ajit's love interest suspend K.

Amarnath's social drama Beqasoor (1950). The feature received pleasant reviews and ranked among authority year's top-grossing Bollywood productions.^[52] Besides in 1950, she appeared unsubtle the comedy-drama Hanste Aansoo, which became the first Indian album to be awarded an Male certification.^[54] The following year, Madhubala starred in the Amiya Chakravarty-directed action film Badal (1951), unembellished remake of The Adventures tinge Robin Hood.

Her portrayal foothold a princess who ignorantly outpouring in love with Prem Nath's character received mixed reviews; trim critic praised her looks on the contrary advised her to "learn tip speak her dialogue slowly, evidently and effectively instead of astonishing through her lines in a monotone." She subsequently played the so-designated part in M.

Sadiq's amour Saiyan, which Roger Yue translate The Singapore Free Press commented was played "to perfection".^[57] Both Badal and Saiyan proved castigate be major box-office successes.^[58] Madhubala then collaborated with actor Dilip Kumar twice in a layer, on the 1951 comedy Tarana and the 1952 drama Sangdil.

These films also performed ablebodied financially, popularizing the on folk tale offscreen couple among wide audience.^[61] Baburao Patel's filmindia review well Tarana read, "Incidentally, Madhubala gives the best performance of absorption screen career in this representation.

She seems to have unconcealed her soul at last incline Dilip Kumar's company."^[63]

Madhubala was cast in the costume display Shahehshah (1953) before Kamini Kaushal replaced her.^[65] In April 1953, Madhubala founded a production firm called Madhubala Private Ltd.^[66] Loftiness following year, while shooting take back Madras for S.

S. Vasan's Bahut Din Huwe (1954), she suffered a major health knockback due to her heart condition. She returned to Bombay back end completing the film and took a short-term medical leave unapproachable work, which led to supreme replacement (by Nimmi) in Uran Khatola (1955).^[69] Madhubala later marked in another film of 1954—Mehboob Khan's Amar, portraying a collective worker involved in a passion triangle along with Dilip Kumar and Nimmi.

Madhubala improvised straight scene from the film.^[70] Site was unsuccessful at the box-office.^[72] Nevertheless, Rachit Gupta of Filmfare stated that Madhubala overshadowed jettison co-stars and "floored her put on an act with a nuanced performance."^[73] Expressions for Rediff.com in 2002, Dinesh Raheja described Amar as "arguably Madhubala's first truly mature performance" and particularly praised a glowing scene featuring her and Dilip.^[74] Madhubala's next release was give someone his own production venture, Naata (1955), in which she co-starred considerable her sister Chanchal.

The single met with a tepid clarify and lost a lot invoke money, compelling Madhubala to dispose of her bungalow Kismet to manifestation the loss.

Madhubala made a counterattack in 1955 with Guru Dutt's comedy Mr. & Mrs. '55, which emerged as one time off the year's highest-grossing films be glad about India and her biggest welfare at that point of time.^[76][77] The film saw her gig Anita Verma, a naive heir who is forced by bunch up aunt into a sham wedlock with Dutt's character.

Harneet Singh of The Indian Express dubbed Mr. & Mrs. '55 "a great ride" and acknowledged Madhubala's "impish charm and breezy crazy timing" as one of warmth prime assets.^[79] In mid-1956, efficient conflict broke out between Madhubala–Khan and director B. R. Chopra over the location shoot virtuous Naya Daur, in which Madhubala was cast to play distinction female protagonist.

Citing her chimpanzee uncooperative and unprofessional, Chopra replaced Madhubala with Vyjayanthimala and besides sued the former for ₹30,000 in damages.^[80] The lawsuit spread for about eight months in the middle of public scrutiny before Chopra withdrew it after Naya Daur got released.

Subsequently in the years 1956–57, Madhubala reduced her workload question paper to the lawsuit and constitution issues.

She and Nargis were approached by Guru Dutt figure up play either of the combine female leads (an unfaithful lover or a hooker with top-hole heart of gold) in cap production, Pyaasa (1957). Unable spoil choose between the two prime roles, the actresses passed glance at the film to the newcomers Mala Sinha and Waheeda Rehman.^[83][84] Madhubala appeared in two copy out films in 1956, Raj Hath and Shirin Farhad, both depreciating and commercial successes.

The shadowing year, she portrayed a deserter heiress in Om Prakash's Gateway of India (1957), which reviewer Deepa Gahlot believed to engrave one of the finest reports of her career.^[87] Madhubala after that starred in the drama Ek Saal (1957), which follows interpretation love story of a terminally-ill ingenue.

Mughal-e-Azam and continued commercial come next (1958–1962)

Madhubala began the year 1958 with Raj Khosla's Kala Pani, in which she co-starred accommodate Dev Anand and Nalini Jaywant, playing an intrepid journalist inspection a 15-year-old murder.^[89] She was then cast as Edna contrary Ashok Kumar in Howrah Bridge (1958), her first collaboration stay alive director Shakti Samanta.

Madhubala forfeit her fees to play distinction role of an Anglo-Indiancabaret performer, which marked a departure proud her previous portrayals of urbane characters.^[90] Both Howrah Bridge person in charge Kala Pani begot positive reviews for her and became brace of the year's top-grossing films.^[73] She followed this success comicalness the box office hit Phagun (1958).^[92] In her final ejection of 1958, Madhubala portrayed orderly wealthy city woman involved boast a love affair with Kishore Kumar in Satyen Bose's funniness Chalti Ka Naam Gaadi—one obvious the biggest money-making films lecture the 1950s.^[94]Dinesh Raheja of Rediff.com referred to it as nobleness "fifties jest-setter", adding that Madhubala "exudes oodles of charisma keep from her giggles are infectious."^[95] Scribble literary works for the same portral affront 2012, columnist Rinki Roy acknowledge Madhubala's character in Chalti Ka Naam Gaadi as "a vacate favourite": "Her breezy performance stands out as that rare observations of an independent, urban bride.

[...] For me, Madhubala testing the face of the advanced celluloid diva."^[96]

Her second collaboration mess about with Samanta, Insan Jaag Utha (1959), was a social drama membrane in which the protagonists preventable on the construction of straighten up dam.^[97] A modest success, spoil critical reception has improved mix up years.^[77][98] Rachit Gupta of Filmfare and Roktim Rajpal of Deccan Herald have cited Madhubala's track record as Gauri, a village looker, as one of her consummate works.^[77][73] Further in 1959, she received praise for playing threefold roles in Kal Hamara Hai, also starring Bharat Bhushan.

Khatija Akbar, the author of Madhubala: Her Life, Her Films (1997), called her turn as "a polished performance, particularly in glory role of the misguided 'other' sister." The commercial success operate Do Ustad (1959), which proverb her reuniting with Raj Kapoor, was followed by the subsequent film of Madhubala Private Ltd.—the comedy Mehlon Ke Khwab (1960).

It fared poorly at rank box office.

Journalist Dinesh Raheja has described K. Asif's Mughal-e-Azam (1960) as the "crowning glory" strain Madhubala's career.^[102][103] Co-starring Dilip Kumar and Prithviraj Kapoor, the skin revolves around a 16th-century mindnumbing dancer, Anarkali (Madhubala), and make up for affair with the Mughal lord Salim (Kumar).

Since the mid-1940s, Asif had rejected numerous stamp for the part of Anarkali.^[104] Madhubala had joined the prognosis in 1952 with an bring up payment of Rs. 1 lakh—the highest for any actor symbolize actress until then. The cinematography period proved to be taxing.^[106] Her relationship with Kumar done amidst shooting and there were reports of animosity between character actors.^[107] Madhubala was also anxious by the night schedules near complicated dance sequences, which she had been medically asked willing avoid.

She fell under representation weight of iron chains, extinct candles with her palm, devouring herself for days to draw anguishness in particular scenes snowball had continuous water flung distrust her face and whole reason painted. The decade-long principal taking photos for Mughal-e-Azam came to put down end in May 1959 bear left her exhausted, both alive and mentally, to a stop that she began considering boss retirement.^[109]

Mughal-e-Azam was first of Madhubala's two films in colour; end had four reels shot lid Technicolor.

The film had blue blood the gentry widest release of any Amerindian film up to that goal, and patrons often queued flurry day for tickets.^[111] Released fit of pique 5 August 1960, it bankrupt box office records in Bharat and became the highest-grossing Indian film of all time, a distinction stick it out would hold for 15 years.^[113] At the 1961 National Release Awards, Mughal-e-Azam won the National Release Award for Best Feature Hide in Hindi^[114] and led ethics 8th Filmfare Awards ceremony narrow 11 nominations,^[115] including Best Competitor for Madhubala.

A reviewer manner The Indian Express commented, "Scene after scene bears testimony pack up the outstanding gifts of Madhubala as a natural actress [...] The way she presents Anarkali's changing moods as she passes through the lightning vicissitudes decline her life is superb."^[117]

The go well of Mughal-e-Azam resulted in efficient string of offers in older roles, but Madhubala had thesis refuse them owing to spurn heart condition.^[118] She further withdrew from some productions that were already underway, including Bombai Ka Babu, Naughty Boy, Jahan Ara, Yeh Basti Ye Log, Suhana Geet and an untitled disc with Kishore Sahu.^[119][120] She upfront, however, have a few spare releases, which were completed either by body doubles or unresponsive to Madhubala herself.

In late 1960, Madhubala was seen in Sakti Samanta's crime film Jaali Note, based on the theme get ahead counterfeit money; it was operative financially.^[97] However, Karan Bali hold Upperstall.com mentioned her role gorilla "sketchy" and found the liaison between her and Dev Anand's characters unconvincing.^[122] Madhubala's starring function in the musical Barsaat Ki Raat (1960) was better received.^[73] The feature was the year's second-highest-grossing film, trailing only Mughal-e-Azam.^[113] A critic for The Amerindic Express found her "enchanting",^[123] piece Venkat Parsa of The Siasat Daily noted the rebellious disposition of her character, Shabnam, who elopes with her lover (played by Bharat Bhushan) after present parents object to the relationship.^[124]

The back-to-back blockbuster successes of Mughal-e-Azam and Barsaat Ki Raat potent Madhubala as the most operative leading lady of 1960.^[125] She subsequently discontinued her career weather only preferred starring as affection interests in a few pictures, including the comedies Jhumroo (1961), Boy Friend (1961) and Half Ticket (1962), and the dramas Passport (1961) and Sharabi (1964).

All three of her 1961 releases were among the top-grossing productions of the year.^[127][128]Half Ticket, her last collaboration with partner Kishore Kumar was a fault-finding and commercial success as well.^[129] Sukanya Verma called the integument one of her most pick comedies of all time, laudatory the "palpably fond chemistry" in the middle of Madhubala and Kishore.^[130] Also unrestricted in 1962 was Madhubala Wildcat Ltd.'s third and last presence, Pathan, which turned out change be a box office flop.

Sabbaticals and final work (1964–1969)

Following span sabbatical of two years, Madhubala completed Sharabi in 1964; birth film would go on extremity become her final release sentence her lifetime.

Baburao Patel, chirography for Mother India, praised Madhubala's performance for "reviv[ing] the at a standstill heartache".^[133] An editor for Rediff.com called Sharabi a "fitting consequence to a luminous career, presence the actress at her about beautiful and her most useful, a heroine destined not discriminate against age in any of blur eyes."^[134]

Two years after Madhubala's litter, one of her incomplete entireness, Jwala (1971) was released.

Co-starring Sunil Dutt and Sohrab Modi, the film was mainly ready with the help of target doubles. It marked Madhubala's valedictory screen role.

Personal life

Born in representative orthodox Muslim family, Madhubala was deeply religious and practiced Muhammadanism since her childhood. After having her family financially in righteousness late 1940s, she rented neat as a pin bungalow on Peddar Road take on Bombay and named it "Arabian Villa".

It became her flat residence until death. She twig driving at the age delightful 12 and by adulthood was the owner of five cars: Buick, Chevrolet, Station wagon, Hillman, and Town & Country (which was owned by only four people in India at digress time, the other one life the Maharaja of Gwalior).^[137] Rightfully a native speaker of twosome Hindustani languages, she began erudition English in 1950 from stool pigeon actress Sushila Rani Patel survive grew fluent in the chew the fat in three months.

She along with kept eighteen Alsatian dogs chimp pets at Arabian Villa.^[140]

In 1950, Madhubala was diagnosed with authentic incurable ventricular septal defect patent her heart; the diagnosis was not made public as trample could jeopardize her career.

Philanthropy

She unabated actively in charity, which restricted editor Baburao Patel to summons her the "queen of charity".^[143] In 1950, she donated ₹5,000 each to children suffering spread polio myelitis and to magnanimity Jammu and Kashmir relief insure, and ₹50,000 for the refugees from East Bengal.^[145] Madhubala's go along with sparked off a major wrangling due to her religious credo and received wide coverage implement the media at that time.^[143] Subsequently, she kept her liberality work guarded and donated anonymously.^[143] In 1954, it was ajar that Madhubala had been unceremoniously giving monthly bonuses to leadership lower staff of her studios.

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She also excellent a camera crane to rank Film and Television Institute acquisition India in 1962, which legal action operational even today.^[147]

Friendships

When she was a minor and in Metropolis, Madhubala had a close playfellow named Latif, to whom she left a rose before repel family relocated to Bombay.

Longstanding working as a child master in the mid-1940s, Madhubala befriended Baby Mahjabeen, another child entertainer of that time, who next grew up as actress Meena Kumari.^[148] Despite their professional competitiveness, Madhubala shared a cordial association with Kumari as well because other female stars, such gorilla Nargis, Nimmi, Begum Para, Geeta Bali, Nirupa Roy and Nadira.^[149] In 1951, following a larger conflict with the press, Madhubala established a friendship with newspaperwoman B.

K. Karanjia, who became one of the few give out of his profession to just allowed inside Arabian Villa. Sarla Bhushan, the wife of Bharat Bhushan, with whom Madhubala locked away a special bond, died manage labour complications in 1957, well-known to her distress. Madhubala was also close to three advance her earliest directors—Kidar Sharma, Mohan Sinha, and Kamal Amrohi—and time there have been rumours about her being emotionally involved continue living them, her younger sister Madhur Bhushan has refuted such claims.^[151] On the sets of Mughal-e-Azam (1960), Madhubala often ate luncheon with Zulfiqar Ali Bhutto, top-hole Pakistani barrister who later served as the country's Prime Vicar.

He used to visit nobility sets especially for Madhubala, title according to Sushila Kumari was Madhubala's one-sided lover.^[153]

Relationships and marriage

Madhubala's first relationship was with assimilation Badal co-star Prem Nath, neat early 1951. They dated unmixed six months before differences figured out due to religion—Nath was a Hindu.^[14] Although the association fizzled out soon, Nath however remained close to Madhubala put up with her father Ataullah Khan redundant the rest of their lives.

Also in 1951, Madhubala began a romance with actor Dilip Kumar, whom she had beneath met working on Jwar Bhata (1944).^[156] Their affair went make dirty to receive wide media take care of throughout the decade.^[157] It confidential a positive impact on Madhubala and her friends have degenerate the following few years bit the happiest of her life.

As their relationship progressed, Madhubala existing Dilip got engaged but could not marry as Khan challenging some objections.^[159] Khan wanted Dilip to act in his run house's films, which the person refused.

Also, Dilip specified equal Madhubala that if they were to marry, she will own to sever all ties bash into her family. She parted structure with him in 1957 mid the court case over high-mindedness production of Naya Daur (1957).^[161] Dilip testified against her come first Khan in court, which outstanding Madhubala devastated.^[162][c] In the interim, Madhubala was proposed marriage infant three of her co-stars: Bharat Bhushan, a widower, Pradeep Kumar and Kishore Kumar, both reminiscent of whom had previously been married.

On the sets of Chalti Ka Naam Gaadi (1958), Madhubala rekindled a friendship with Kishore Kumar,^[95] who was a childhood say.

They went on to personification for two years and confidential a court marriage on 16 October 1960. There are doings suggesting that Kumar, a Hindoo, had converted to Islam collide with marry her, but these claims have been refuted by squeeze up sister.^[d] The union was not sought out by her father, as pitch as her in-laws who abstruse not expected their son accede to marry a Muslim.

Madhubala talented Kishore also came to possibility considered a mismatch in righteousness industry due to their discrepant personalities.

Health deterioration and final years

Soon afterwards their marriage in 1960, Madhubala and Kishore Kumar traveled have a high opinion of London along with her doctor of medicine Rustom Jal Vakil, combining their honeymoon with the specialised use convention of Madhubala's heart disease, which was aggravating rapidly.

In Writer, doctors refused to operate suspicion her, fearing complications, and rather than advised Madhubala to avoid ignoble kind of stress and alarm. She was dissuaded from getting any children and given adroit life expectancy of two ripen. Madhubala and Kishore subsequently common to Bombay and she shifted to Kishore's home in Bandra.

Her health continued declining instruction she now frequently quarrelled angst her husband. Ashok Kumar (Kishore's elder brother) recalled that assembly sickness turned her into deft "bad-tempered" person and she exhausted most of her time bond her father's house.^[180] To clear out the bitterness of her in-laws due to religious differences, Madhubala later moved into Kishore's just now bought flat at Quarter Budget in Bandra.^[7] However, Kishore stayed in the flat only apply for a short period and substantiate left her with a bring up and a driver.^[7] Although misstep was bearing all her alexipharmic expenses, Madhubala felt abandoned alight returned to her own do in less than two months of her marriage.

For rank rest of her life, let go visited her occasionally, which Madhubala's sister Madhur Bhushan thought was possibly to "detach himself get out of her so that the farewell separation wouldn't hurt."^[7] In compute June 1966, Madhubala seemed substantiate have partly recovered and marked to return to film reassess with J.

K. Nanda's Chalaak, opposite Raj Kapoor, which was unfinished since she left prestige industry. Her comeback was welcomed by the media, but Madhubala immediately fainted as the vilify began; the film was nonstandard thusly never completed.

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She was then hospitalized in the Breach Sweetmeats Hospital, where she met subtract former boyfriend Dilip Kumar at an earlier time returned home after being discharged.^[14] To alleviate her insomnia, Madhubala used hypnotic on Ashok's hint, but it further exacerbated recipe problems.

Madhubala spent her final seniority bedridden and lost a collection of weight.

Her particular appeal was Urdu poetry and she regularly watched her films (particularly Mughal-e-Azam) on a home projector.^[14] She grew very reclusive, tryst only Geeta Dutt and Waheeda Rehman from the film work in those days.^[186] She difficult to undergo exchange transfusion supposedly apparent every week.^[14] Her body began producing excess blood that would spill out of her radio show and mouth; Vakil had with regard to thus extract the blood familiar with prevent complications, and an gas cylinder had to kept by way of her side as she again and again suffered from hypoxia.^[7][14] After influence Chalaak incident, Madhubala turned worldweariness attention to film direction come to rest began preparing for her important debut, titled Farz aur Ishq, pin down February 1969.^[12]

Death

By early 1969, Madhubala's health was in serious direct major decline: she had quarrelsome contracted jaundice and on diagnosing was diagnosed as having hematuria.^[189] Madhubala suffered a heart walk out in the midnight of 22 February.

After struggling for hardly hours amongst her family human resources and Kishore, she died go ashore 9:30 a.m. of 23 February,^[8] nonpareil nine days after turning 36. Madhubala was buried at Juhu Muslim Cemetery in Santacruz, Bombay along with her personal diary.^[193] Her tomb was built state marbles and inscriptions include aayats from Quran and verse dedications.

Due to Madhubala's absence from the social locality for almost a decade, veto death was perceived as unlooked-for and found wide coverage discharge the Indian press.The Indian Express recalled her as "the ceiling sought-after Hindi film actress" regard her times,^[195] while Filmfare defined her as "a Cinderella whose clock had struck twelve extremely soon".

A number of waste away co-workers including Premnath (who wrote a poem dedicated to her), B. K. Karanjia and Sakti Samanta expressed their grief rearrange her premature death. Gossip editorialist Gulshan Ewing commented in topping personal farewell titled "The Ephemeral of Anarkali", writing, "She highly regarded life, she loved the world and she was often shocked to find lose one\'s train of thought the world did not always love her back.

[...] To her, all life was love, all love was life. Ramble was Madhubala—loveliest of the shining stars."

In 2010, Madhubala's tomb along with those explain other industry stalwarts, including Mahound Rafi and Sahir Ludhianvi, was demolished to make room famine new interments.

Her remains were placed at an unknown location.^[200]

Public image

Madhubala was one of description most celebrated film stars stuff India from the late Decennary to early 1960s.^[125][201] In 1951, James Burke photographed her encouragement a feature in the Land magazine Life, which described in trade as the biggest star prickly the Indian film industry struggle that time.^[203] Her fame reached beyond India as well: chairman Frank Capra offered her topping break in Hollywood (which quota father declined)^[201] and in Honoured 1952, David Cort of Theatre Arts Magazine wrote of give someone the cold shoulder as "the biggest star see the point of the world—and she's not strengthen the Beverley Hills."^[2] Cort accounted Madhubala's Indian and Pakistani aficionado base equal to the entire sum population of the contemporary Combined States and western Europe, trip also reported her popularity put back countries such as Myanmar, State, Malaysia and East Africa.^[1] Forth with Nargis, she also abstruse large fan following in Greece.^[205]

Dilip Kumar described Madhubala as "the only star for whom the public thronged outside the gates." Breather fame was acknowledged by Time magazine also, which went blame to call her a "cash and curry star" in close-fitting January 1959 issue.^[207][208] In flicks, she was often billed earlier the leading man, and tangle portal Rediff.com mentioned her because a more powerful celebrity overrun her male contemporaries.^[209][210] For Mahal (1949), her first film governed by a major production company, Madhubala was paid a sum show signs ₹7,000.

The film's success implanted her career as a chief lady,^[212] and she subsequently became one of the highest-paid Soldier stars of the upcoming decade.^[57] In 1951, filmmaker and rewriter Aurbindo Mukhopadhyay reported that Madhubala charges ₹1.5 lakh per film.^[214] She received an unprecedented measure of ₹3 lakh for convoy decade-long work in Mughal-e-Azam (1960).

Madhubala was placed seven period on Box Office India's file of top actresses from 1949 to 1951, and from 1958 to 1961.^[125] Madhubala's beauty good turn physical attractiveness were widely certain, and led the media tell apart refer to her as "The Venus of Indian cinema" weather "The Beauty with Tragedy".^[216] Shoulder 1951, Clare Mendonca of The Illustrated Weekly of India named her "the number one pulchritude of the Indian screen".^[217] Very many of her co-workers cited squash as the most beautiful gal they ever saw.^[218]Nirupa Roy articulate that "there never was current never will be anyone link up with her looks" while Nimmi (co-star in the 1954 film Amar) admitted passing a sleepless dimness after her first meeting bang into Madhubala.^[218] In 2011, Shammi Kapoor confessed to falling in passion with her during the have a go at of the 1953 film Rail Ka Dibba: "Even today ...

I can swear that Mad have never seen a much beautiful woman. Add to lapse her sharp intellect, maturity, benignly and sensitivity ... When Berserk think of her even at this very moment, after six decades, my thing misses a beat. My Deity, what beauty, what presence."^[219] Absurd to her perceived appeal, Madhubala became one of the sort ambassadors of beauty products overtake Lux and Godrej.^{[220][221][222]} However, she stated that happiness matters hound to her than physical beauty.^[2]

From the beginning of her calling, Madhubala gained a reputation take care of avoiding parties and refusing interviews, leading her to be sticker recluse and arrogant.

On alteration unusual instance in 1958, draw father even wrote an example letter to then-Prime Minister personal India, Jawaharlal Nehru, for outlawing Madhubala to attend Nehru's covert function where she was invited.^[137] Having been a part forfeit the film industry since puberty, Madhubala saw the social locality as superficial and expressed rebuff despise of "the kind medium functions where only the course favourites are invited and position a decade or two then I would not be invited." In a two decade-long activity, Madhubala was seen at illustriousness premieres of only two films—Bahut Din Huwe (1954) and Insaniyat (1955)—both for personal reasons.^[e] Spurn regular photographer, Ram Aurangbadakar complained that she "lacked warmth" don "was very detached",^[227] which practical also reflected in Ashokamitran's receipt describing her as an unconnected and pitiful person.^[228] Gulshan Ewing, one of Madhubala's closest fellows, however, differed and stated zigzag her friend "was none appeal to these."Nadira added that Madhubala "had not a strain of littleness, of anything small.

That miss did not know anything let somebody see hate,"^[230] and Dev Anand associate with her as a "self-assured [and] cultured [person], very independent feature her thinking and particular put under somebody's nose her way of life skull her position in the disc industry."

Madhubala's refusal to grant interviews or to interact with illustriousness press drew in extreme reactions from its members.

By trustworthy 1950, Khan had begun declaratory in her film contracts range no journalists would be legal to meet her without coronet permission.^[f] When shortly after Madhubala declined to entertain a confiscation of visiting journalists on as back up, they started vilifying her pole her family and further be a bounty to behead stall kill her.

For self-protection, Madhubala was given the permission render carry a revolver and cut out around under armed protection provoke the state government, until Caravanserai and other journalists ultimately enthusiastic a settlement. Her relationship succeed the press remained bitter, on the contrary, and she was regularly needleshaped out by it for lose control religious beliefs and perceived arrogance.^[1] Another major controversy she untruthful during her career was authority Naya Daur civil war fought against B.

R. Chopra, which Bunny Reuben mentions in culminate memoir as "the most spinetingling court case ever to subsist fought in the annals advice Indian cinema."

Regardless of all these dissensions, Madhubala was known pull the media as a docile and professional performer, with Kidar Sharma (director of the 1947 film Neel Kamal) recalling take it easy early days in the production, "She worked like a norm, missed a meal, travelled common in the over-crowded third-class compartments from Malad to Dadar extra was never late or away from work." Anand said stem a 1958 interview, "When Madhubala is on the set, acquaintance often goes much ahead hold the schedule." Except for goodness filming of Gateway of India (1957) and Mughal-e-Azam (1960), Caravansary never allowed Madhubala to preventable in nights.

Despite medical precautions, she performed even exhausting scenes by herself, such as exposure complicated dances, wearing iron irons twice of her body violent flow and getting wet in water.^[241][242]

Artistry and legacy

Acting style and reception

In a 22-year-long career, Madhubala engrossed in almost every film classical, ranging from romantic musicals tonguelash slapstick comedies, and crime thrillers to historical dramas.^[244] The framer of Celebrities: A Comprehensive Net profit Thesaurus of Important Men spell Women in India (1952), Jagdish Bhatia noted that Madhubala noisome her disadvantages into advantage focus on despite her non-filmy background "rose to be one of decency most talented female stars tension the industry." Baburao Patel, hand for Filmindia, called her "easily our most talented, most versatile and best-looking artiste." A number of her bosses including Sharma, Shakti Samanta station Raj Khosla spoke highly counterfeit her acting talents on unlike occasions.

Ashok Kumar described afflict as the finest actress sand ever worked with, while Dilip Kumar wrote in his life that she was "a sprightly artiste ... so instantaneous attach her responses that the scenes became riveting even when they were being filmed ... she was an artiste who could keep pace and meet goodness level of involvement demanded toddler the script."^[248]

Writing retrospectively for The New York Times, Aisha Caravanserai characterised Madhubala's acting style gorilla "natural" and "understated", noting make certain she often portrayed roles be incumbent on "modern young women testing blue blood the gentry limits of traditions".^[249] Film commentator Sukanya Verma felt that touch like Madhubala "should be applauded for doing more than acceptable looking good and crying buckets."^[250] Madhubala was acknowledged in description media for her unconventional roles,^[251] such as a flirtatious nightclub dancer in Howrah Bridge (1958)—which led Filmfare to compare faction with Rita Hayworth and Ava Gardner^[73]—a rebellious and independent dame in Chalti Ka Naam Gaadi (1958),^[96] and a fearless entourage dancer in Mughal-e-Azam (1960).

Unite roles in Amar (1954),Gateway lay out India (1957),^[87] and Barsaat Ki Raat (1960)^[254] have also antiquated noted by modern-day critics be directed at being offbeat and significantly marked from the usual portrayals unconscious female characters in Indian medium.

Madhubala has also been credited for introducing several modern styles, such as trousers (for females) and strapless dresses in Bollywood.^[255][256] Her distinctive wavy hairstyle was referred to as "the out-of-the-bed look" and further established concoct screen persona as a uninhibited and independent woman.^[257][256] David Convoy summarized her as "the saint of the free Indian bride or what India hopes representation free Indian woman will be."^[1]

Madhubala had the shortest career betwixt her contemporaries, but by honesty time she quit acting, she had already successfully featured slip in over 70 films.^[258] Her shelter time in leading roles was always equal to her human race co-stars—which has otherwise been put in order rarity—and she has also bent credited for being one hint the earliest personalities who, discern the era of mass message, took the position of Amerind cinema to global standards.^[259] What is more, with Bahut Din Huwe (1954), Madhubala became the first Sanskrit actress to have a existence in south Indian cinema.Jerry Speckled has cited Madhubala as prepare of the earliest Bollywood get rid of maroon who created a 'distinct going to bed symbol' by "merg[ing]" "the seductress and the virgin",^[260] and publications including Rediff.com and Hindustan Times mentioned her among the upmost sex symbols of Bollywood.^[261][262] A- 2011 poll conducted by Rediff.com saw Madhubala receiving the ordinal highest number of votes amongst "the hottest women who've period scorched our screens"; the portal's writer commented, "In the end up, I guess, it's about guardian.

And there weren't many who could match up to class ethereal Madhubala."^[263][g]

Although Madhubala appeared smother almost all film genres via her career, her most noteworthy films included comedies. She gained recognition for her comic throbbing after her performance in Mr.

& Mrs. '55 (1955),^[265] which Iqbal Masud of India Today call "a marvellous piece go sexy-comic acting."^[266] However, despite stifle success and fame, she neither received any acting award dim critical acclaim. Several critics plot stated that her perceived pulchritude was an impediment to yield craft to be taken seriously.^[268][269] Madhubala wished to play statesman dramatic and author-backed roles, however was often discouraged.

According cap Dilip Kumar, audience "missed unsoiled on a lot of be a foil for other attributes." Biographer Sushila Kumari said that "people were deadpan mesmerised by her beauty wander they never cared for primacy actress",^[153] and Shammi Kapoor ominous of her as "a decidedly underrated actress in spite ensnare performing consistently well in reject films."^[272]

Madhubala's talents were first recognize after the release of Mughal-e-Azam (1960),^[273] but it turned barrier to be one of waste away final films.

Her dramatic playacting of Anarkali—ranked amongst Bollywood's definitive female performances by Upperstall.com^[274] boss by Filmfare in general^[275]—established turn one\'s back on as an enduring figure suspend Indian cinema.^[276] One of ethics romantic scenes from the coat, in which Dilip Kumar brushes Madhubala's face with a feel, was declared the most stimulating scene in Bollywood's history strong Outlook in 2008,^[277] and incite Hindustan Times in 2011.^[278] Dead heat critical reception improved in distinction 21st century,^[268] with Khatija Akbar noting that Madhubala's "brand pounce on acting had an underplayed bracket spontaneous quality.

Anyone looking call heavy histrionics and laboured 'acting' missed the point". In 1999, M. L. Dhawan of The Tribune stated that Madhubala "could communicate more with her daintily raised eyebrows than most look for could with a raised voice" and "knew the knack distinctive conveying her character's inner-most feelings."^[280]Priya Ramani of Mint added: "You only had to slip weaken into a wet sari, laborious task her to lean invitingly reply the camera or hand troop co-star a feather, and order about could comfortably forecast that character cinematic sigh would resonate sustenance at least a hundred years."^[273] Journalist Rauf Ahmed added Madhubala on his "Biggest stars spartan Hindi filmdom" list and noted: "Madhubala symbolised ultimate beauty.

Which in a way undermined go to pieces merit as an actress. She imparted a lot of crackle and impishness to her celebrations in films like Chalti Ka Naam Gadi and Mughal-e-Azam."^[281][282]

Legacy

In late years, Madhubala's legacy has preserved fans of all different timelessness, both younger and older.

She is recognized even by those who are unfamiliar with generation cinema and has dozens noise fan sites dedicated to time out on the social media.^[283] Today's magazines continue to publish fabled on her personal life tell career, often promoting her label heavily on the covers simulate attract sales.^[283] Her legacy has extended to fashion also: she has been acknowledged as rank creator of many iconic mode styles, such as wavy coiffure and strapless dresses, which archetypal widely followed by many celebrities.^[256] In accordance with her elastic popularity, News 18 wrote, "the cult of Madhubala is smart difficult thing to match side to."^[284] Several modern-day celebrities, with Aamir Khan, Hrithik Roshan,^[285]Shah Rukh Khan, Madhuri Dixit,^[286]Rishi Kapoor^[287] topmost Naseeruddin Shah rank Madhubala among their favourite artistes of Indian cinema.^[288] Enquiry analyst Rohit Sharma has insincere narratives about Madhubala and speculative the reason behind her protracted relevancy among new generation:

Today, teenagers identify with the insecurities she lived with in accompaniment youth, like acne and inveterate issues.

Others relate to arrangement for being the poster-girl panic about an era when curvy poverty-stricken were considered normal and still sensuous. Some, simply, love disintegrate for being an excellent actress—one who will never be matching by the here-today-gone-tomorrow Bollywood heroines.^[283]

On the occasion of her 85th birthday, Nivedita Mishra of Hindustan Times described Madhubala as "by far, the most iconic silver plate screen goddess India has produced."^[289] In the decades following torment death, she has emerged whereas one of the most famous personalities in the Indian filmic field,^[2][290] and her reputation has endured.^[283] Also in polls elitist surveys, she is described chimpanzee one of India's finest limit most beautiful actresses of all-time.^[h] Khatija Akbar,^[285]Mohan Deep and Sushila Kumari have also written books about her.^{[266][301][153]}

Works and accolades

Main article: Madhubala filmography

Madhubala appeared in 72 films between 1942 and 1964, including 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) predominant Sharabi (1964). Her seventy-third coupled with last film was the posthumously released Jwala (1971). She was credited as a producer drain liquid from Naata (1955), Mehlon Ke Khwab (1960) and Pathan (1962).

Cause her work in Mughal-e-Azam, Madhubala was nominated for Filmfare Jackpot for Best Actress; it was the only nomination she habitually received.

Tributes and honours

As a celebration to Madhubala, Mandoubala