10 may 2013 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 Decade, Madhubala appeared in over 70 films—ranging from slapstick comedies to historical dramas—in a two decade-long career.^[1] Long afterward her death, she remains a Screenland icon, particularly noted for her loveliness and unconventional screen persona.^[2]

Born and lifted in Delhi, Madhubala relocated to Bombay (now Mumbai) with her family as she was 8 years old talented shortly after began playing minor roles, starting with Basant (1942). She progressed to leading roles in the compose 1940s, and earned success with say publicly dramas Neel Kamal (1947) and Amar (1954), the horror film Mahal (1949), and the romantic films Badal (1951) and Tarana (1951). Following a little setback, Madhubala found continued success greet 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), stake the musical Barsaat Ki Raat (1960).

Madhubala's portrayal of Anarkali in justness historical epic drama Mughal-e-Azam (1960)—the highest-grossing film in India at the time—earned her widespread critical acclaim and pretty up only nomination for the Filmfare Stakes for Best Actress; her performance has since been described by critics likewise one of the finest in Amerindic cinematic history. She worked sporadically spitting image film in the 1960s, making mix final appearance in the drama Sharabi (1964). Additionally, she produced three big screen under her production house Madhubala Unofficial Ltd., which was co-founded by concoct in 1953.

Despite maintaining strong solitude, Madhubala earned significant media coverage unmixed her charity work and personal living. In the early 1950s, she difficult 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. Roundabouts her adult life, Madhubala suffered take from recurring bouts of breathlessness and symptom caused by a ventricular septal lack, ultimately leading to her death shakeup the age of 36, in 1969.

Early life

Madhubala was born as Mumtaz Jehan Begum Dehlavi in Delhi, Country India, on 14 February 1933. She was the fifth of eleven domestic of Ataullah Khan and Aayesha Begum. At least four of Madhubala's siblings died as infants; her sisters who survived until adulthood were Kaneez Mohammedan (b. 1925), Altaf (b. 1930), Chanchal (b. 1934) and Zahida (b. 1949).^[a] Khan, who belonged to the Yusufzai tribe of Pashtuns from Peshawar valley, originating from Swabi District, North-West Frontier Province^[9] was authentic 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 have as a feature Delhi and grew up without halfbaked kind of health issues. Owing intelligence the orthodox ideas of their Monotheism father, neither Madhubala nor any finance her sisters except Zahida attended school.^[14] Madhubala nevertheless learnt Urdu, Hindi, though well as her native language, Pashto, beneath her father's guidance.^[15] An avid shoot viewer since the beginning, she pathetic to perform her favourite scenes rafter front of her mother and dish out her time dancing and imitating vinyl characters to entertain herself. In venom of her conservative upbringing, she adored to become a film actor—which make up for father strictly disapproved of.

Khan's decision discrepant in 1940 after he got laidoff from his job for misbehaving trade a senior officer. Madhubala's mother terrible ostracism if they allowed their rural daughter to work in the play industry, but Khan remained adamant. Any minute now Madhubala was employed at the Shrinkage India Radio station to sing compositions of Khurshid Anwar. The seven-year-old long working there for months,^[18] and became acquainted with Rai Bahadur Chunnilal, magnanimity general manager of the studio Bombay Talkies, situated in Bombay.^[18] Chunnilal took an immediate liking towards Madhubala cope with suggested Khan to visit Bombay straighten out better employment opportunities.

Acting career

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

In probity summer of 1941, Khan along appear Madhubala and other family members relocate to Bombay and settled down well-heeled a cowshed present in the Malad suburbs of Bombay. Following an liveliness from the studio executives, Chunnilal organized Madhubala to a juvenile role mud Bombay Talkies' production, Basant (1942), argue a salary of ₹150. Released suspend July 1942, Basant became a higher ranking success commercially,^[18][22] but although Madhubala's business garnered appreciation, the studio dropped collect contract as it did not presume a child actor at that at an earlier time. Disappointed, Khan had to once once more also return his family to Delhi. Noteworthy subsequently found low-paid temporary jobs look onto the city, but continued to labour financially.

In 1944, Bombay Talkies' head Devika Rani sent for Khan to convene Madhubala for role in Jwar Bhata (1944). Madhubala did not get dignity role but Khan now decided bear out settle permanently in Bombay seeing regular prospect in films. The family restore returned to their temporary residence compact Malad and Madhubala along with an extra father began paying frequent visits in all directions film studios throughout the city confined search of work. She was anon signed to a three-year contract buy and sell Chandulal Shah's studio Ranjit Movietone, screen a monthly payment of ₹300. Coffee break income led to Khan shifting character family to a neighbouring rented igloo in Malad.

In April 1944, the rented house was destroyed in a pier explosion; Madhubala and her family survived only because they had gone know about a local theatre. After shifting give somebody no option but to her friend's house, Madhubala continued supreme film career,^[30] playing minor roles meet five of Ranjit's films: Mumtaz Mahal (1944), Dhanna Bhagat (1945), Rajputani (1946), Phoolwari (1946) and Pujari (1946); she was credited as "Baby Mumtaz" hub all of them. She faced plentiful problems in these years; during nobleness shoot of Phoolwari in 1945, Madhubala vomited blood, which forewarned her sickness that was slowly taking root. Call 1946, she had to borrow extremely poor from a film producer for high-mindedness treatment of her pregnant mother. Fervent to establish a foothold in rectitude industry, in November 1946, Madhubala began shooting for two of Mohan Sinha's directorial ventures, Chittor Vijay and Mere Bhagwaan, which were supposed to designate her introduction to the silver-screen welcome adult roles.^[34]

Madhubala's first project in exceptional lead role was Sohrab Modi's Daulat, but it was shelved indefinitely (and would not be revived until probity next year).^[35][36] Her debut as smart leading lady came in Kidar Sharma's drama Neel Kamal, in which she starred opposite debutante Raj Kapoor essential Begum Para.^[36] She was offered blue blood the gentry film after Sharma's first choice, team member actor Kamla Chatterjee, died. Released in Advance 1947, Neel Kamal was popular go through audience and garnered wide public attention for Madhubala. She then reteamed fitting 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 growth ahead. During this period, she abstruse to charge a relatively lesser dominant than her usual fee to tempt more offers. To secure her cover financially, Madhubala quickly signed 24 pictures. Impressed by her work in Neel Kamal, in which Madhubala was credited as "Mumtaz", Devika Rani suggested throw over to take up "Madhubala" as tea break professional name.^[b]

Rise to prominence and superstardom (1948–1957)

Madhubala found her first critical weather commercial success in the drama Lal Dupatta, which The Indian Express device as a breakthrough for her.^[30]Baburao Patel described the film as "the premier milestone of her maturity in partition acting." She received further positive reviews for her supporting parts in Parai Aag (1948), Paras and Singaar (both 1949). In 1949, Madhubala played keen femme fatale in Kamal Amrohi's Mahal—the first horror film of Indian cinema.^[46] Several actresses including Suraiya were estimated for the role but Amrohi insisted on casting Madhubala.^[48] Her character was that of Kamini, a servant young lady in an ancient mansion, whose pretensions of an apparition lead to calamitous consequences. The film was produced specialism a modest budget due to cash constraints, with trade analysts predicting ready to drop to be a failure owing be in total its unconventional subject.^[48]Mahal was released infringe October 1949 and proved to have on an immensely popular film among audience.^[48] In Beyond the Boundaries of Bollywood, Rachel Dwyer noted that Madhubala's unawareness among audience added to the eerie nature of her character.^[46] The lp, which would be Madhubala's first provide many collaborations with actor and brother-in-law Ashok Kumar, emerged as the 3rd biggest box-office success of the harvest, resulting in her signing a fibre of starring roles opposite the important actors of the time.^[50]

Following another stock body office hit in Dulari (1949),^[50] Madhubala played Ajit's love interest in Infant. Amarnath's social drama Beqasoor (1950). Nobility feature received positive reviews and row on row among the year's top-grossing Bollywood productions.^[52] Also in 1950, she appeared stem the comedy-drama Hanste Aansoo, which became the first Indian film to affront awarded an Adult certification.^[54] The closest year, Madhubala starred in the Amiya Chakravarty-directed action film Badal (1951), unornamented remake of The Adventures of Redbreast Hood. Her portrayal of a king who ignorantly falls in love hash up Prem Nath's character received mixed reviews; a critic praised her looks nevertheless advised her to "learn to write her dialogue slowly, distinctly and momentous instead of rattling through her contours in a monotone." She subsequently played probity titular part in M. Sadiq's declaration Saiyan, which Roger Yue of The Singapore Free Press commented was stiff "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, mystification the 1951 comedy Tarana and goodness 1952 drama Sangdil. These films further performed well financially, popularizing the in the bag and offscreen couple among wide audience.^[61] Baburao Patel's filmindia review of Tarana read, "Incidentally, Madhubala gives the unconditional performance of her screen career include this picture. She seems to be blessed with discovered her soul at last fall apart Dilip Kumar's company."^[63]

Madhubala was chuck in the costume drama Shahehshah (1953) before Kamini Kaushal replaced her.^[65] Welloff April 1953, Madhubala founded a handiwork company called Madhubala Private Ltd.^[66] Glory following year, while shooting in State for S. S. Vasan's Bahut Clamour Huwe (1954), she suffered a superior health setback due to her nerve disease. She returned to Bombay puzzle out completing the film and took undiluted short-term medical leave from work, which led to her replacement (by Nimmi) in Uran Khatola (1955).^[69] Madhubala late starred in another film of 1954—Mehboob Khan's Amar, portraying a social workman involved in a love triangle vanguard 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 avowed that Madhubala overshadowed her co-stars gift "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" esoteric particularly praised a dramatic scene featuring her and Dilip.^[74] Madhubala's next unfetter was her own production venture, Naata (1955), in which she co-starred get together her sister Chanchal. The film decrease with a tepid response and lacking a lot of money, compelling Madhubala to sell her bungalow Kismet progress to recover the loss.

Madhubala made a return in 1955 with Guru Dutt's clowning Mr. & Mrs. '55, which emerged as one of the year's highest-grossing films in India and her strongest success at that point of time.^[76][77] The film saw her playing Anita Verma, a naive heiress who run through forced by her aunt into wonderful sham marriage with Dutt's character. Harneet Singh of The Indian Express christened Mr. & Mrs. '55 "a fair ride" and acknowledged Madhubala's "impish inveigle and breezy comic timing" as pooled of its prime assets.^[79] In mid-1956, a conflict broke out between Madhubala–Khan and director B. R. Chopra diminish the location shoot of Naya Daur, in which Madhubala was cast dispense play the female protagonist. Citing bare 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 octet 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 significance lawsuit and health issues. She be proof against Nargis were approached by Guru Dutt to play either of the duo female leads (an unfaithful girlfriend unseen a hooker with a heart endorse gold) in his production, Pyaasa (1957). Unable to choose between the mirror image leading roles, the actresses passed conveying 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 closest year, she portrayed a runaway heritor in Om Prakash's Gateway of India (1957), which critic Deepa Gahlot considered to be one of the percentage performances of her career.^[87] Madhubala confirmation starred in the drama Ek Saal (1957), which follows the love recounting of a terminally-ill ingenue.

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

Madhubala began the best 1958 with Raj Khosla's Kala Pani, in which she co-starred with Dev Anand and Nalini Jaywant, playing entail intrepid journalist investigating a 15-year-old murder.^[89] She was then cast as Edna opposite Ashok Kumar in Howrah Bridge (1958), her first collaboration with administrator Shakti Samanta. Madhubala waived her fees to play the role of potent Anglo-Indiancabaret dancer, which marked a feat from her previous portrayals of cultured characters.^[90] Both Howrah Bridge and Kala Pani begot positive reviews for scratch and became two of the year's top-grossing films.^[73] She followed this prosperity with the box office hit Phagun (1958).^[92] In her final release conduct operations 1958, Madhubala portrayed a wealthy infiltrate woman involved in a love custom with Kishore Kumar in Satyen Bose's comedy Chalti Ka Naam Gaadi—one selected the biggest money-making films of honourableness 1950s.^[94]Dinesh Raheja of Rediff.com referred belong it as the "fifties jest-setter", estimate that Madhubala "exudes oodles of tendency and her giggles are infectious."^[95] Handwriting for the same portral in 2012, columnist Rinki Roy mentioned Madhubala's room in Chalti Ka Naam Gaadi primate "a top favourite": "Her breezy description stands out as that rare action of an independent, urban woman. [...] For me, Madhubala is the confront of the original celluloid diva."^[96]

Her subsequent collaboration with Samanta, Insan Jaag Utha (1959), was a social drama lp in which the protagonists work provide for the construction of a dam.^[97] Top-notch modest success, its critical reception has improved over years.^[77][98] Rachit Gupta possess Filmfare and Roktim Rajpal of Deccan Herald have cited Madhubala's performance makeover Gauri, a village belle, as make sure of of her finest works.^[77][73] Further put it to somebody 1959, she received praise for exhibition dual roles in Kal Hamara Hai, also starring Bharat Bhushan. Khatija Akbar, the author of Madhubala: Her The social order, Her Films (1997), called her outing as "a polished performance, particularly burden the role of the misguided 'other' sister." The commercial success of Do Ustad (1959), which saw her reuniting with Raj Kapoor, was followed unwelcoming the second film of Madhubala Unconfirmed Ltd.—the comedy Mehlon Ke Khwab (1960). It fared poorly at the stalk office.

Journalist Dinesh Raheja has described Asif's Mughal-e-Azam (1960) as the "crowning glory" of Madhubala's career.^[102][103] Co-starring Dilip Kumar and Prithviraj Kapoor, the husk revolves around a 16th-century court cooperator, Anarkali (Madhubala), and her affair become clear to the Mughal prince Salim (Kumar). By reason of the mid-1940s, Asif had rejected many actresses for the part of Anarkali.^[104] Madhubala had joined the cast essential 1952 with an advance payment fence Rs. 1 lakh—the highest for steadiness actor or actress until then. Illustriousness filming period proved to be taxing.^[106] Her relationship with Kumar ended betwixt shooting and there were reports depict animosity between the actors.^[107] Madhubala was also troubled by the night schedules and complicated dance sequences, which she had been medically asked to forestall. She fell under the weight make out iron chains, extinguished candles with multipart palm, starved herself for days collect depict anguishness in particular scenes take up had continuous water flung at link face and whole body painted. Depiction decade-long principal photography for Mughal-e-Azam came to an end in May 1959 and left her exhausted, both relatives and mentally, to a point ensure she began considering a retirement.^[109]

Mughal-e-Azam was first of Madhubala's two films incorporate colour; it had four reels bump in Technicolor. The film had say publicly widest release of any Indian disc up to that time, and clients often queued all day for tickets.^[111] Released on 5 August 1960, eke out a living broke box office records in Bharat and became the highest-grossing Indian film of cunning time, a distinction it would engage for 15 years.^[113] At the 1961 National Film Awards, Mughal-e-Azam won the Internal Film Award for Best Feature Disc in Hindi^[114] and led the Ordinal Filmfare Awards ceremony with 11 nominations,^[115] including Best Actress for Madhubala. A-okay reviewer for The Indian Express commented, "Scene after scene bears testimony get in touch with the outstanding gifts of Madhubala renovation a natural actress [...] The wolf down she presents Anarkali's changing moods brand she passes through the lightning vicissitudes in her life is superb."^[117]

The come off of Mughal-e-Azam resulted in a case of offers in major roles, on the other hand Madhubala had to refuse them owe to her heart condition.^[118] She new-found withdrew from some productions that were already underway, including Bombai Ka Babu, Naughty Boy, Jahan Ara, Yeh Basti Ye Log, Suhana Geet and prominence untitled film with Kishore Sahu.^[119][120] She did, however, have a few mega releases, which were completed either provoke body doubles or by Madhubala living soul. In late 1960, Madhubala was particular in Shakti Samanta's crime film Jaali Note, based on the theme deal in counterfeit money; it was successful financially.^[97] However, Karan Bali of Upperstall.com human being her role as "sketchy" and grow the romance between her and Dev Anand's characters unconvincing.^[122] Madhubala's starring put it on in the musical Barsaat Ki Raat (1960) was better received.^[73] The piece was the year's second-highest-grossing film, terminal only Mughal-e-Azam.^[113] A critic for The Indian Express found her "enchanting",^[123] reach Venkat Parsa of The Siasat Daily noted the rebellious nature of quota character, Shabnam, who elopes with draw lover (played by Bharat Bhushan) aft her parents object to the relationship.^[124]

The back-to-back blockbuster successes of Mughal-e-Azam present-day Barsaat Ki Raat established Madhubala tempt the most successful leading lady pills 1960.^[125] She subsequently discontinued her life's work and only preferred starring as attachment interests in a few films, containing the comedies Jhumroo (1961), Boy Friend (1961) and Half Ticket (1962), captain the dramas Passport (1961) and Sharabi (1964). All three of her 1961 releases were among the top-grossing workshop canon of the year.^[127][128]Half Ticket, her set on collaboration with husband Kishore Kumar was a critical and commercial success brand well.^[129] Sukanya Verma called the vinyl 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 articulation, Pathan, which turned out to subsist a box office flop.

Sabbaticals and farewell work (1964–1969)

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

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

Personal life

Born in an doctrinal Muslim family, Madhubala was deeply devout and practiced Islam since her youth. After securing her family financially mull it over the late 1940s, she rented neat bungalow on Peddar Road in Bombay and named it "Arabian Villa". Leisurely walk became her permanent residence until passing. She learnt driving at the identity of 12 and by adulthood was the owner of five cars: Buick, Chevrolet, Station wagon, Hillman, and Community & Country (which was owned because of only two people in India attractive that time, the other one grow the Maharaja of Gwalior).^[137] As simple native speaker of three Hindustani languages, she began learning English in 1950 from former actress Sushila Rani Patel and grew fluent in the sound in three months. She also held in reserve eighteen Alsatian dogs as pets send up Arabian Villa.^[140]

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

Philanthropy

She performed actively affix charity, which led editor Baburao Patel to call her the "queen livestock charity".^[143] In 1950, she donated ₹5,000 each to children suffering from poliomyelitis myelitis and to the Jammu playing field Kashmir relief fund, and ₹50,000 recognize the value of the refugees from East Bengal.^[145] Madhubala's donation sparked off a major disputation due to her religious beliefs gift received wide coverage in the publicity at that time.^[143] Subsequently, she set aside her charity work guarded and approving anonymously.^[143] In 1954, it was beat that Madhubala had been regularly big monthly bonuses to the lower baton of her studios. She also excellent a camera crane to the Single and Television Institute of India send back 1962, which is operational even today.^[147]

Friendships

When she was a minor and emergence Delhi, Madhubala had a close intimate named Latif, to whom she leftist a rose before her family reposition to Bombay. While working as organized child artist in the mid-1940s, Madhubala befriended Baby Mahjabeen, another child trouper of that time, who later grew up as actress Meena Kumari.^[148] Discredit their professional rivalry, Madhubala shared calligraphic cordial relationship with Kumari as on top form as other female stars, such since Nargis, Nimmi, Begum Para, Geeta Island, Nirupa Roy and Nadira.^[149] In 1951, following a major conflict with character press, Madhubala established a friendship get the gist journalist B. K. Karanjia, who became one of the few people locate his profession to be allowed spirit Arabian Villa. Sarla Bhushan, the little woman of Bharat Bhushan, with whom Madhubala had a special bond, died rivalry labour complications in 1957, much loom her distress. Madhubala was also rapid to three of her earliest directors—Kidar Sharma, Mohan Sinha, and Kamal Amrohi—and while there have been rumours with respect to her being emotionally involved with them, her younger sister Madhur Bhushan has refuted such claims.^[151] On the sets of Mughal-e-Azam (1960), Madhubala often approve lunch with Zulfiqar Ali Bhutto, unadorned Pakistani barrister who later served because the country's Prime Minister. He motivated to visit the sets especially take possession of Madhubala, and according to Sushila Kumari was Madhubala's one-sided lover.^[153]

Relationships and marriage

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

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

On description sets of Chalti Ka Naam Gaadi (1958), Madhubala rekindled a friendship deal in Kishore Kumar,^[95] who was a minority acquaintance. They went on to go out with for two years and had nifty court marriage on 16 October 1960. There are reports suggesting that Kumar, a Hindu, had converted to Mohammadanism to marry her, but these claims have been refuted by her sister.^[d] The union was disliked by assembly father, as well as her in-laws who had not expected their lassie to marry a Muslim. Madhubala squeeze Kishore also came to be ostensible a mismatch in the industry justification to their contrasting personalities.

Health deterioration unthinkable final years

Soon after their marriage in 1960, Madhubala and Kishore Kumar traveled give a lift London along with her doctor Rustom Jal Vakil, combining their honeymoon resume the specialised treatment of Madhubala's ignoble disease, which was aggravating rapidly. Note London, doctors refused to operate present her, fearing complications, and instead approve of Madhubala to avoid any kind waste stress and anxiety. She was dissuaded from having any children and land-living a life expectancy of two duration. Madhubala and Kishore subsequently returned join forces with Bombay and she shifted to Kishore's home in Bandra. Her health extended declining and she now frequently quarrelled with her husband. Ashok Kumar (Kishore's elder brother) recalled that her malady turned her into a "bad-tempered" myself and she spent most of pretty up time in her father's house.^[180] Squeeze escape the bitterness of her in-laws due to religious differences, Madhubala ulterior moved into Kishore's newly bought relations at Quarter Deck in Bandra.^[7] Notwithstanding, Kishore stayed in the flat inimitable for a short period and thence left her with a nurse discipline a driver.^[7] Although he was pin all her medical expenses, Madhubala mat abandoned and returned to her aside house in less than two months of her marriage. For the interconnected of her life, he visited quip occasionally, which Madhubala's sister Madhur Bhushan thought was possibly to "detach in the flesh from her so that the encouragement separation wouldn't hurt."^[7] In late June 1966, Madhubala seemed to have nominal recovered and decided to return make haste film again with J. K. Nanda's Chalaak, opposite Raj Kapoor, which was unfinished since she left the assiduity. Her comeback was welcomed by birth media, but Madhubala immediately fainted primate the shoot began; the film was thus never completed. She was later hospitalized in the Breach Candy Asylum, where she met her former girlfriend Dilip Kumar and returned home equate being discharged.^[14] To alleviate her sleeplessness, Madhubala used hypnotic on Ashok's recommendation, but it further exacerbated her problems.

Madhubala spent her final years bedridden dowel lost a lot of weight. Sit on particular fascination was Urdu poetry jaunt 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 description film industry in those days.^[186] She had to undergo exchange transfusion virtually every week.^[14] Her body began television excess blood that would spill allotment of her nose and mouth; Vakil had to thus extract the slaying to prevent complications, and an element cylinder had to kept by link side as she often suffered diverge hypoxia.^[7][14] After the Chalaak incident, Madhubala turned her attention to film address and began preparing for her honest debut, titled Farz aur Ishq, in Feb 1969.^[12]

Death

By early 1969, Madhubala's health was in serious and major decline: she had just contracted jaundice and underscore urinalysis was diagnosed as having hematuria.^[189] Madhubala suffered a heart attack unite the midnight of 22 February. Rear 1 struggling for few hours amongst complex family members and Kishore, she boring at 9:30 a.m. of 23 February,^[8] single nine days after turning 36. Madhubala was buried at Juhu Muslim Necropolis in Santacruz, Bombay along with restlessness personal diary.^[193] Her tomb was construct with marbles and inscriptions include aayats from Quran and verse dedications.

Due to Madhubala's want from the social scene for apparently a decade, her death was alleged as unexpected and found wide insurance in the Indian press.The Indian Express recalled her as "the most attractive Hindi film actress" of her times,^[195] while Filmfare characterized her as "a Cinderella whose clock had struck cardinal too soon". A number of other co-workers including Premnath (who wrote ingenious poem dedicated to her), B. Under age. Karanjia and Shakti Samanta expressed their grief over her premature death. Chat columnist Gulshan Ewing commented in splendid personal farewell titled "The Passing embodiment 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 mess up industry stalwarts, including Mohammed Rafi elitist Sahir Ludhianvi, was demolished to fashion room for new interments. Her evidence were placed at an unknown location.^[200]

Public image

Madhubala was one of the lid celebrated film stars in India stick up the late 1940s to early 1960s.^[125][201] In 1951, James Burke photographed gibe for a feature in the Land magazine Life, which described her reorganization the biggest star in the Asiatic film industry at that time.^[203] Give someone the brush-off fame reached beyond India as well: director Frank Capra offered her organized break in Hollywood (which her priest declined)^[201] and in August 1952, King Cort of Theatre Arts Magazine wrote of her as "the biggest practice in the world—and she's not lessening the Beverley Hills."^[2] Cort estimated Madhubala's Indian and Pakistani fan base commensurate to the combined population of rank contemporary United States and western Accumulation, and also reported her popularity withdraw countries such as Myanmar, Indonesia, Malaya and East Africa.^[1] Along with Nargis, she also had large fan masses in Greece.^[205]

Dilip Kumar described Madhubala thanks to "the only star for whom folks thronged outside the gates." Her abomination was acknowledged by Time magazine too, which went on to call tea break a "cash and curry star" trauma its January 1959 issue.^[207][208] In motion pictures, she was often billed before description leading man, and web portal Rediff.com mentioned her as a more beefy celebrity than her male contemporaries.^[209][210] Merriment Mahal (1949), her first film descend a major production company, Madhubala was paid a sum of ₹7,000. Excellence film's success established her career chimp a leading lady,^[212] and she afterward became one of the highest-paid Asiatic stars of the upcoming decade.^[57] Welcome 1951, filmmaker and editor Aurbindo Mukhopadhyay reported that Madhubala charges ₹1.5 100000 per film.^[214] She received an record amount of ₹3 lakh for circlet decade-long work in Mughal-e-Azam (1960). Madhubala was placed seven times on Carton Office India's list of top cast from 1949 to 1951, and let alone 1958 to 1961.^[125] Madhubala's beauty ahead physical attractiveness were widely acknowledged, leading led the media to refer close her as "The Venus of Asiatic cinema" and "The Beauty with Tragedy".^[216] In 1951, Clare Mendonca of The Illustrated Weekly of India called give someone the cold shoulder "the number one beauty of significance Indian screen".^[217] Several of her co-workers cited her as the most lovely woman they ever saw.^[218]Nirupa Roy held that "there never was and in no way will be anyone with her looks" while Nimmi (co-star in the 1954 film Amar) admitted passing a heedful night after her first meeting get a feel for Madhubala.^[218] In 2011, Shammi Kapoor admitted to falling in love with subtract during the shoot of the 1953 film Rail Ka Dibba: "Even at the moment ... I can swear that Rabid have never seen a more graceful woman. Add to that her angular intellect, maturity, poise and sensitivity ... When I think of her collected now, after six decades, my absolutely misses a beat. My God, what beauty, what presence."^[219] Due to make up for perceived appeal, Madhubala became one love the brand ambassadors of beauty goods by Lux and Godrej.^{[220][221][222]} However, she stated that happiness matters more thoroughly her than physical beauty.^[2]

From the inception of her career, Madhubala gained straighten up reputation for avoiding parties and denying interviews, leading her to be marker recluse and arrogant. On an individualistic instance in 1958, her father flush wrote an apology letter to then-Prime Minister of India, Jawaharlal Nehru, be disallowing Madhubala to attend Nehru's undisclosed function where she was invited.^[137] Obtaining been a part of the pelt industry since childhood, Madhubala saw loftiness social scene as superficial and spoken her despise of "the kind time off functions where only the current favourites are invited and where a 10 or two hence I would mewl be invited." In a two decade-long career, Madhubala was seen at honourableness premieres of only two films—Bahut Yelling Huwe (1954) and Insaniyat (1955)—both operate personal reasons.^[e] Her regular photographer, Pack Aurangbadakar complained that she "lacked warmth" and "was very detached",^[227] which assignment also reflected in Ashokamitran's statement description her as an inarticulate and affecting person.^[228] Gulshan Ewing, one of Madhubala's closest associates, however, differed and alleged that her friend "was none sharing these."Nadira added that Madhubala "had war cry a strain of pettiness, of anything small. That girl did not comprehend anything about hate,"^[230] and Dev Anand recalled her as a "self-assured [and] cultured [person], very independent in disown thinking and particular about her disperse of life and her position pierce the film industry."

Madhubala's refusal to unobstructed interviews or to interact with blue blood the gentry press drew in extreme reactions stick up its members. By early 1950, Caravansary had begun asserting in her ep contracts that no journalists would substance allowed to meet her without rulership permission.^[f] When shortly after Madhubala declined to entertain a set of calamity journalists on set, they started offensive her and her family and in mint condition placed a bounty to behead ground kill her. For self-protection, Madhubala was given the permission to carry unblended revolver and move around under fortified protection by the state government, till such time as Khan and other journalists ultimately sense a settlement. Her relationship with integrity press remained bitter, nevertheless, and she was regularly pointed out by speedy for her religious beliefs and apparent arrogance.^[1] Another major controversy she deliberate during her career was the Naya Daur civil war fought against Precarious. R. Chopra, which Bunny Reuben mentions in his memoir as "the governing sensational court case ever to affront fought in the annals of Amerindian cinema."

Regardless of all these dissensions, Madhubala was known in the media chimp a disciplined and professional performer, momentous Kidar Sharma (director of the 1947 film Neel Kamal) recalling her ill-timed days in the industry, "She phoney like a machine, missed a victuals, travelled daily in the over-crowded third-class compartments from Malad to Dadar near was never late or absent put on the back burner work." Anand said in a 1958 interview, "When Madhubala is on interpretation set, one often goes much press on in the schedule." Except for excellence filming of Gateway of India (1957) and Mughal-e-Azam (1960), Khan never legitimate Madhubala to work in nights. Neglect medical precautions, she performed even debilitating scenes by herself, such as experience complicated dances, wearing iron chains in pairs of her body weight and exploit wet in water.^[241][242]

Artistry and legacy

Acting composition and reception

In a 22-year-long career, Madhubala acted in almost every film ilk, ranging from romantic musicals to hysterical comedies, and crime thrillers to ordered dramas.^[244] The author of Celebrities: Spruce up Comprehensive Biographical Thesaurus of Important Private soldiers and Women in India (1952), Jagdish Bhatia noted that Madhubala turned move backward disadvantages into advantage and despite other half non-filmy background "rose to be only 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 digit of her directors including Sharma, Sakti Samanta and Raj Khosla spoke enthusiastically of her acting talents on coldness occasions. Ashok Kumar described her importation the finest actress he ever diseased with, while Dilip Kumar wrote modern his autobiography that she was "a vivacious artiste ... so instantaneous notch her responses that the scenes became riveting even when they were turn out filmed ... she was an actor who could keep pace and appropriate the level of involvement demanded from one side to the ot the script."^[248]

Writing retrospectively for The Another York Times, Aisha Khan characterised Madhubala's acting style as "natural" and "understated", noting that she often portrayed roles of "modern young women testing dignity limits of traditions".^[249] Film critic Sukanya Verma felt that actresses like Madhubala "should be applauded for doing auxiliary than just looking good and distress buckets."^[250] Madhubala was acknowledged in character media for her unconventional roles,^[251] specified as a flirtatious cabaret dancer story Howrah Bridge (1958)—which led Filmfare unity compare her with Rita Hayworth endure Ava Gardner^[73]—a rebellious and independent wife in Chalti Ka Naam Gaadi (1958),^[96] and a fearless court dancer put back Mughal-e-Azam (1960). Her roles in Amar (1954),Gateway of India (1957),^[87] and Barsaat Ki Raat (1960)^[254] have also back number noted by modern-day critics for tutor offbeat and significantly different from significance usual portrayals of female characters layer Indian cinema. Madhubala has also back number credited for introducing several modern styles, such as trousers (for females) current strapless dresses in Bollywood.^[255][256] Her idiosyncratic wavy hairstyle was referred to likewise "the out-of-the-bed look" and further personal her screen persona as a free and easy and independent woman.^[257][256] David Cort summarized her as "the ideal of nobleness free Indian woman or what Bharat hopes the free Indian woman volition declaration be."^[1]

Madhubala had the shortest career betwixt her contemporaries, but by the while she quit acting, she had as of now successfully featured in over 70 films.^[258] Her screen time in leading roles was always equal to her manful co-stars—which has otherwise been a rarity—and she has also been credited insinuate being one of the earliest personalities who, in the era of encourage communication, took the position of Soldier cinema to global standards.^[259] Moreover, get together Bahut Din Huwe (1954), Madhubala became the first Hindi actress to suppress a career in south Indian cinema.Jerry Pinto has cited Madhubala as single of the earliest Bollywood actresses who created a 'distinct sex symbol' manage without "merg[ing]" "the vamp and the virgin",^[260] and publications including Rediff.com and Hindustan Times mentioned her among the foremost sex symbols of Bollywood.^[261][262] A 2011 poll conducted by Rediff.com saw Madhubala receiving the third highest number personal votes among "the hottest women who've ever scorched our screens"; the portal's writer commented, "In the end, Uproarious guess, it's about beauty. And near weren't many who could match rundown to the ethereal Madhubala."^[263][g]

Although Madhubala exposed in almost all film genres about her career, her most notable cinema included comedies. She gained recognition untainted her comic timing after her execution 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 see fame, she neither received any fastidious award nor critical acclaim. Several critics have stated that her perceived guardian was an impediment to her artisanship 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 because of on a lot of her show aggression attributes." Biographer Sushila Kumari said focus "people were so mesmerised by come together beauty that they never cared lease the actress",^[153] and Shammi Kapoor put at risk of her as "a highly underrated actress in spite of performing daily well in her films."^[272]

Madhubala's talents were first acknowledged after the release an assortment of Mughal-e-Azam (1960),^[273] but it turned sporty to be one of her parting films. Her dramatic portrayal of Anarkali—ranked amongst Bollywood's finest female performances moisten Upperstall.com^[274] and by Filmfare in general^[275]—established her as an enduring figure deliver Indian cinema.^[276] One of the ideal scenes from the film, in which Dilip Kumar brushes Madhubala's face co-worker a plume, was declared the heavy-handed erotic scene in Bollywood's history overstep Outlook in 2008,^[277] and by Hindustan Times in 2011.^[278] Her critical response improved in the 21st century,^[268] pick out Khatija Akbar noting that Madhubala's "brand of acting had an underplayed predominant spontaneous quality. Anyone looking for hefty histrionics and laboured 'acting' missed representation point". In 1999, M. L. Dhawan of The Tribune stated that Madhubala "could communicate more with her elegantly raised eyebrows than most performers could with a raised voice" and "knew the knack of conveying her character's inner-most feelings."^[280]Priya Ramani of Mint added: "You only had to slip unconditional into a wet sari, ask an extra to lean invitingly into the camera or hand her co-star a crest, and you could comfortably forecast make certain the cinematic sigh would resonate meditate at least a hundred years."^[273] Hack Rauf Ahmed added Madhubala on top "Biggest stars in Hindi filmdom" close down and noted: "Madhubala symbolised ultimate celestial being. Which in a way undermined wise merit as an actress. She imparted a lot of sizzle and pranks to her performances in films round Chalti Ka Naam Gadi and Mughal-e-Azam."^[281][282]

Legacy

In recent years, Madhubala's legacy has serviceable fans of all different ages, both younger and older. She is constituted even by those who are novel with vintage cinema and has scores of fan sites dedicated to cross on the social media.^[283] Modern magazines continue to publish stories on absorption personal life and career, often exhorting her name heavily on the coverlets to attract sales.^[283] Her legacy has extended to fashion also: she has been acknowledged as the creator carry out many iconic fashion styles, such little wavy hairstyle and strapless dresses, which are widely followed by many celebrities.^[256] In accordance with her enduring regularity, News 18 wrote, "the cult chide Madhubala is a difficult thing tell somebody to 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 confront Indian cinema.^[288] Research analyst Rohit Sharma has studied narratives about Madhubala take up surmised the reason behind her lengthened relevancy among new generation:

Today, teenagers identify with the insecurities she flybynight with in her youth, like fleck and hair issues. Others relate cause somebody to her for being the poster-girl indicate an era when curvy bodies were considered normal and even sensuous. Stumpy, simply, love her for being brainchild excellent actress—one who will never acceptably matched by the here-today-gone-tomorrow Bollywood heroines.^[283]

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

Works and accolades

Main article: Madhubala filmography

Madhubala appeared in 72 films between 1942 and 1964, plus 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). Refuse seventy-third and last film was magnanimity posthumously released Jwala (1971). She was credited as a producer in Naata (1955), Mehlon Ke Khwab (1960) arena Pathan (1962). For her work dainty 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