The magic of Madhubala

In the short time that she graced the silver screen in India, Madhubala achieved the kind of iconic status that many actors can only dream of. Often compared to another ethereal beauty Marilyn Monroe who also died young, hers was a life full of great professional highs but also many personal lows. The magic of Madhubala continues to enthrall cinema lovers all over the world.

Mumtaz Begum Jehan Dehlavi, later known as Madhubala, was born in New Delhi, on February 14, 1933. She was Muslim, the fifth child of a conservative Pathan family of eleven children. (Wikipedia)

After Madhubala's father, Ataullah Khan lost his job at the Imperial Tobacco Company in Peshawer, the family endured many hardships including the deaths of four of Madhubala's sisters and her two brothers. Madhubala and four other sisters remained. In search of a better life for his impoverished family, her father relocated them to Mumbai. There they struggled for over a year and often frequented the Mumbai film studios in search of work. Young Mumtaz entered films at the age of nine. (Wikipedia)

Her first film was the box-office success, Basant (1942) in which she played the daughter of the popular actress, Mumtaz Shanti. She then went on to act in several films as a child artist. It was the celebrated actress, Devika Rani, impressed by her performances and potential, who advised her to change her name to Madhubala. Her talent was clearly evident and she soon garnered a reputation as a reliable and professional performer. By the time she was an adolescent, her uncommon good looks and tall, lissome figure, meant she was already being groomed for lead roles. (Wikipedia)

Her first break came when filmmaker, Kidar Sharma cast her opposite Raj Kapoor in Neel Kamal (1947). Until that point, she had always been billed as Mumtaz but after this film she was credited as Madhubala. She was only fourteen years old, but Madhubala had finally arrived on the Indian screen in a lead role. Though the film was not a commercial success, she was noticed and her performance well received. (Wikipedia)

In the next two years she blossomed into a captivating beauty (film media and fans referred to her as the Venus of the Screen). However it was not until she starred in the coveted lead role of Bombay Talkies production, Mahal in 1949, that Madhubala became a fully fledged star and a household name. Audiences enthused over Madhubala's enigmatic screen presence and beauty. Though she was only sixteen at the time, critics widely acknowledged that her subtle and skillful performance upstaged her seasoned co-star, Ashok Kumar. The film became a popular success and the song Aayega Aanewala heralded the arrival of two new superstars both Madhubala and playback singer Lata Mangeshkar. (Wikipedia)

Madhubala had many successful films following Mahal. With pressure to secure herself and her family financially, she acted in as many as twenty-four films in the first four years of her adult career. Consequently, critics of the time commented that Madhubala's beauty was greater than her acting ability. This was in part due to careless choices in film roles. As sole support of her family, she accepted work in any film, causing her credibility as a dramatic actress to be seriously compromised. Something she later expressed regret over. (Wikipedia)

She did have aspirations to appear in more prestigious films with challenging roles. Bimal Roy's Biraj Bahu (1954) being a case in point. Madhubala having read the novel, was desperate to secure the lead in the film adaptation. Assuming she would command her market price (one of the highest), Bimal Roy passed her over in favour of a then, struggling Kamini Kaushal. When Madhubala learned that this was a factor in her losing the part, she lamented the fact that she would have performed in the film for a fee of one rupee. Such was her desire to improve her image as a serious actress. (Wikipedia)

As a star, Madhubala did ascend to the top of the industry. Her co-stars at the time were the most popular of the period: Ashok Kumar, Raj Kapoor, Rehman, Pradeep Kumar, Shammi Kapoor, Dilip Kumar, Sunil Dutt and Dev Anand. Madhubala also appeared alongside many notable leading ladies of the time including Kamini Kaushal, Suraiya, Geeta Bali, Nalini Jaywant and Nimmi. The directors she worked with were amongst the most prolific and respected: Mehboob Khan (Amar), Guru Dutt (Mr. & Mrs. '55), Kamal Amrohi (Mahal) and K. Asif (Mughal-e-Azam). She also ventured into production and made the film Naata (1955) which she also acted in. (Wikipedia)

During the 1950s, Madhubala proved herself a versatile performer in starring roles, in almost every genre of film being made at the time. She was the archetypal lady fair in the popular swashbuckler, Badal (1951) and was next seen as an uninhibitted village belle in Tarana (1951). She was convincing as the traditional ideal of Indian womanhood in Sangdil (1952) and was well received in a comic performance as the spoilt heiress, Anita in Guru Dutt's classic satire Mr. & Mrs. '55 (1955). (Wikipedia)

Suddenly in the mid-1950s her films, even major ones like Mehboob Khan's Amar (1954), fared so badly commercially that she was labelled 'Box Office Poison'. (Wikipedia)

She turned her career around in 1958, with a string of hit films: Howrah Bridge opposite Ashok Kumar featured Madhubala in the unusual role of an Anglo-Indian Cabaret singer, embroiled in Calcutta's Chinatown underworld. She made a big impact with a daring (for the time) Westernized image, with her cascading locks, deep cut blouses, fitted Capri pants and tailored Chinese dresses. Madhubala's sensuous torch song from the film, 'Aye Meherebaan', dubbed by Asha Bhosle, was a popular hit with audiences, and is widely quoted and celebrated to this day. (Wikipedia)

Howrah Bridge was followed by Phagun opposite Bharat Bhushan, Kalapani opposite Dev Anand, the perennial hit Chalti Ka Naam Gaadi opposite her husband-to-be, Kishore Kumar and Barsaat Ki Raat (1960), opposite Bharat Bhushan again. (Wikipedia)

In 1960, she consolidated these successes and her super-star status when she went on to appear in the epic mega-budget historical, Mughal-e-Azam. This film is widley perceived to be the crowning glory of her career and perhaps the decade of filmmaking in India. It was Mughal-e-Azam that marked what many consider to be her greatest and definitive characterization as the doomed courtesan Anarkali. Director K. Asif, unaware of the extent of Madhubala's illness, required long and grueling shooting schedules that made heavy physical demands on her. (Wikipedia)

From 1951 through to 1959 Madhubala invested her best efforts into Mughal-e-Azam. Post 1956 and her separation from Dilip Kumar, the film's remaining intimate romantic scenes were filmed under much tension and strain between Madhubala and her now estranged co-star. This emotionally and physically taxing experience is widely perceived as a major factor in her subsequent decline in health and premature death. (Wikipedia)

On August 5, 1960, Mughal-e-Azam released and became the biggest grossing film at that time. Despite performing alongside the most respected acting talent of the industry, Prithviraj Kapoor, Durga Khote, and Dilip Kumar, critics recognised and appreciated Madhubala's intelligent and multi layered performance. She received some recognition as a serious actress when she was nominated for a Filmfare Award. However she did not win, losing out to Bina Rai for her performance in the film Ghunghat (1960). (Wikipedia)

In 1960, Madhubala hit the peak of her career and popularity with the release of back-to-back blockbusters Mughal-e-Azam and Barsaat Ki Raat. She was offered strong, author-backed roles, but her deteriorating health did not permit her to enjoy this period and develop as an actress. In the biography by Khatija Akbar, her frequent co-star Dev Anand recalled: "She was so robust and full of life and energy. She was always laughing and enjoyed her work. One could never conceive she was seriously ill. Then one day out of the blue she just disappeared...". (Wikipedia)

She did have intermittent releases in the early 60s. Some of these, like Jhumroo (1961), Half Ticket (1962) and Sharabi (1964), even performed above average at the box-office. However, most of her other films issued in this period were marred by her absence in later portions when her illness prevented her from completing them. Her last released film Jwala, although filmed in the late 1950s, was not issued until 1971, two years after her death. Incidentally, apart from some Technicolor sequences in Mughal-e-Azam, Jwala is the only time Madhubala appeared in a colour film. (Wikipedia)

Madhubala's heart problem was discovered in 1950 after she frequently coughed up blood on the sets. She was born with a ventricular septal defect commonly known as a "hole in the heart". At the time, heart surgery was not widely available. Her illness was kept a secret from the industry for many years, though one incident was widely reported by the film media in 1954. Madhubala was filming in Chennai for S.S. Vassan's film Bahut Din Huwe. She became extremely ill and vomited blood on the set (1954). The incident was hushed up. (Wikipedia)

As a result of her illness, Madhubala's family was extremely protective. When filming at the studios, she would only eat home prepared food and drink water that came from a specific well in an attempt to minimize risks of illness or infection. Eventually her condition would take its toll and abbreviate her life and career, but for most of the 1950s, Madhubala performed successfully despite her illness and physical limitations. (Wikipedia)

In 1960, Madhubala sought treatment in London as her condition deteriorated. Complicated heart surgery was in its infancy and offered her some hope of a cure. After an examination the doctors there refused to operate, convinced her chances of surviving the procedure were minimal. Their advice was that she should rest and avoid overexertion, and predicted that she could live for another year. Knowing her death was imminent, Madhubala returned to India, but defied the predictions by living for another 9 years. (Wikipedia)

In 1966, with a slight improvement in her health, Madhubala tried working again opposite Raj Kapoor in the film Chalak. Film media heralded her "comeback" with much fanfare and publicity. Stills from this time showed a still beautiful but pale and wan-looking Madhubala. However, within a few days of filming, her frail health caused her to collapse and the film remained incomplete and unreleased. When acting was clearly no longer an option, Madhubala turned her attention to film making. In 1969 she was set to make her directorial debut with a film named Farz aur Ishq. However the film was never made, as during the pre production stages, Madhubala finally succumbed to her illness and died on February 23, 1969, shortly after her 36th birthday. She was buried at Santa Cruz Cemetery by her family and husband Kishore Kumar. (Wikipedia)

In the early 1950s as Madhubala became one of the most sought-after actresses in India, she also attracted interest from Hollywood. She appeared in many American magazines such as Theatre Arts. In their August 1952 issue, Madhubala was featured in an extensive article with a full page photo. The piece was entitled: The Biggest Star in the World (And She's Not in Beverly Hills). It presented the actress as a mysterious and ethereal woman of mythical beauty with a legion of fans. (Wikipedia)

During this period, on a trip to Mumbai and its film studios, the American filmmaker Frank Capra was pampered and hosted by the elite of the Hindi movie industry. However the one star he really wanted to meet was conspicuous by her absence, Madhubala. A meeting to discuss an opening for Madhubala in Hollywood was proposed by Capra. Madhubala's father declined and put an emphatic end to her potential Hollywood film career. (Wikipedia)

It is ironic that the woman born on Valentine's Day struggled to find true love all through her life. There was certainly no dearth of men falling for her stunning good looks and enormous talent. Director Kidar Sharma was among the first in Bollywood to woo her. But despite her respect for him as a filmmaker, a young Madhubala never reciprocated Sharma's ardour.

Kamal Amrohi, the director of Madhubala's superhit film Mahal was also besotted with her. Unlike in the case of Kidar Sharma, this time it was a two-way love affair. Despite Islam permitting a man to marry more than once, Madhubala was reportedly not happy with the idea of sharing Amrohi with his first wife and children. She wanted him to get a divorce before tying the knot with her. Amrohi flatly refused to give in to Madhubala's demands and that was the end of the road for their relationship.

The tables were turned when Madhubala proposed to her Badal co-star Premnath. The affair was short-lived and ended on an acrimonious note.

Madhubala had a long affair with actor and frequent co-star Dilip Kumar. They first met on the sets of Jwar Bhata (1944), and worked together again in the film Har Singaar (1949) which was never completed or released. It was two years later during the filming of, Tarana (1951), that their off-screen relationship began. They also became a popular romantic screen team appearing in a total of four films together. (Wikipedia)

Madhubala was known for keeping a low profile, never making public appearances (with the exception of the premiere for the film Bahut Din Huwe in 1954) and she rarely gave interviews. Film media often speculated over her personal life and romantic liaisons and Dilip Kumar was repeatedly mentioned. These rumours were confirmed with a bold and rare public appearance during their courtship in 1955. Madhubala was escorted by Dilip Kumar for the premier of his film Insaniyat (1955), a film with which she had no other association. (Wikipedia)

Madhubala's romance with Kumar lasted five years, between 1951 and 1956. Their association was ended following a highly controversial and widely publicised court case. B.R. Chopra, the director of the film Madhubala and Dilip Kumar were currently starring in, Naya Daur (1957), wanted the unit to travel to Bhopal for an extended outdoor shooting. Madhubala's father Ataullah Khan objected. Chopra sued Madhubala for the cash advance she received from him for a film she now had no intention of completing. Madhubala supported her father despite her commitment to Dilip Kumar. Kumar testified against Madhubala and Ataullah Khan in open court. The case was lost by Madhubala and her father amid much negative publicity. (Wikipedia)

However in an interview, Madhubala's sister Madhur Bhushan gave a slightly different version of the breakup: "The reason Madhubala broke up with Dilip Kumar was B R Chopra's film Naya Daur, not my father. Madhubala had shot a part of the film when the makers decided to go for an outdoor shoot to Gwalior. The place was known for dacoits, so my father asked them to change the location. They disagreed. So my father asked her to quit the film. He was ready to pay the deficit...Dilipsaab and Madhubala were engaged then. Dilipsaab tried to mediate but Madhubala refused to disobey her father. Chopra's production filed a case against her, which went on for a year. But this did not spoil their relationship. Dilipsaab told her to forget movies and get married to him. She said she would marry him, provided he apologised to her father. He refused, so Madhubala left him. That one 'sorry' could have changed her life. She loved Dilipsaab till the day she died." (Wikipedia)

If anecdotes of those times are to be believed, three men proposed to Madhubala in - Pradeep Kumar, Bharat Bhushan and Kishore Kumar. She turned to close friend and confidant Nargis for advice. While Nargis suggested that Bharat Bhushan would probably care for her the most since he was a widower and the other two suitors were married, Madhubala it seems had already made up her mind to place her trust in Kishore.

She met her husband, actor and playback singer, Kishore Kumar during the filming of Chalti Ka Naam Gaadi (1958) and Jhumroo (1961). At the time he was married to the Bengali singer and actress Ruma Guha Thakurta. After his divorce, because Kishore Kumar was Hindu and Madhubala Muslim, they had a civil wedding ceremony in 1960. Kishore even converted to Islam and took the name Karim Abdul. His parents however refused to attend. The couple also had a Hindu ceremony to please Kumar's parents, but Madhubala was never truly accepted as his wife. Within a month of her wedding she moved back to her bungalow in Bandra because of tension in the Kumar household. They remained married but under great strain for the remainder of Madhubala's life. (Wikipedia)

In her short life, Madhubala made over 70 films. In all three biographies and numerous articles published on her, she has been compared with Marilyn Monroe and has a similarly iconic position in Indian film history. Perhaps because she died before being relegated to supporting or character roles, to this day Madhubala remains one of the most enduring and celebrated legends of Indian cinema. (Wikipedia)

Her continuing appeal to film fans was underlined in a 1990 poll conducted by Movie magazine. Madhubala was voted the most popular vintage Hindi actress of all time, garnering 58 per cent of the votes, and out ranking contemporary legendary actresses Meena Kumari, Nargis, and Nutan. (Wikipedia)

In 2004 a digitally colorised version of Mughal-e-Azam was released and, 35 years after her death, the film and Madhubala became a success with cinema audiences all over again. In the past decade, several biographies and magazine articles have been issued on Madhubala, revealing previously unknown details of her private life and career. Consequently in 2007, a Hindi film Khoya Khoya Chand was produced starring Shiney Ahuja and Soha Ali Khan - the plot included some events loosely based on the life of Madhubala and other vintage film personalities. (Wikipedia)

In 2008 a commemorative postage stamp featuring Madhubala was issued. The stamp was produced by India Post in a limited edition presentation pack which featured images of the actress. It was launched by veteran actors Nimmi and Manoj Kumar in a glittering ceremony attended by colleagues, friends and surviving members of Madhubala's family. The only other Indian film actress to be honoured in this manner is Nargis Dutt. (Wikipedia)

The popular actress and sex symbol of the 1970s Zeenat Aman is often acknowledged as the prototype of the modern and westernized Hindi film heroine. Yet it is often overlooked that Madhubala was seen portraying westernized and even vamp like characters back in the 1950s. A bold image for a Hindi film heroine to portray in an age when demure and self sacrificing ideals of Indian womanhood were the order of the day. As such it is Madhubala's (and to some degree, her contemporary Nargis) pioneering influence on modern Hindi actresses that is prevalent today. (Wikipedia)

Madubala Trivia: 1. When Madhubala was an infant, it was predicted that she would earn fame and fortune, but would lead an unhappy life and die at a young age.
2. She was an avid fan of Hollywood and after learning to speak fluent English, frequently watched American movies on her home projector.
3. Madhubala's sister Chanchal was also an actress and bore a striking resemblance to her famous sibling. (Wikipedia) The picture shows Chanchal (2nd L) with Kishore Kumar (1st L), Madhubala and Pradeep Kumar.