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Actress Navel Pics Biography

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Madhubala (February 14, 1933 - February 23, 1969) is one of the most gorgeous actresses to have graced the screens of Bollywood. She has made an incredible contribution to the Indian film industry. Well, in this article, we will present you with the biography of Indian actress Madhubala. We will also provide you with information on the works of Madhubala.

Early life

Born as Mumtaz Jehan Begum Dehlavi on the February 14, 1933, Madhubala was the fifth child of the Pashtun Muslim family. A Muslim holy man had once predicted that this girl would make a name for herself and become a prominent personality. She would earn loads of wealth and fortune, but unfortunately won't be able to enjoy a happy life and die at a very young age. To know the complete life history of Madhubala, read on…

Madhubala is an epitome of beauty, who had an unbeatable charm. She is admired for her looks and work even by the present day generations. Madhubala's father named Ataullah Khan, on hearing the words of the Muslim holy man, planned to migrate to Bombay (now Mumbai) for leading a better life. Things were not smooth and the family had to struggle a lot for a year. Madhubala entered into the Indian film industry as a child artist. At that time, she was known as Baby Mumtaz.There the family endured many hardships. Madhubala's three sisters and two brothers died at the age of five and six. The dock explosion and fire of April 14, 1944 wiped out their small home. The family were only saved because they had gone to see a film at a local theater. With his six remaining daughters to provide for, Khan, and the young Madhubala, began to pay frequent visits to Bombay film studios to look for work. At the age of 9, this was Madhubala's introduction to the movie industry, which would provide financial help to her family.

Early career

Madhubala's first movie, Basant (1942), was a box-office success. She acted as the daughter to a mother played by actress Mumtaz Shanti. As a child actress she went on to play in several movies. Actress Devika Rani was impressed by her performance and potential, and advised her to assume the screen name 'Madhubala',[6] literally meaning 'honey belle'. Her first lead role, at the age of 14, was with producer Kidar Sharma when he cast her opposite Raj Kapoor in Neel Kamal (1947).[9] This was the last film in which she was credited as Mumtaz before assuming her screen name 'Madhubala'. She achieved stardom and popularity in 1949 when she was cast as the lead in Bombay Talkies studio's Mahal – a role intended for well-known star Suraiya. Madhubala, with established actresses, screen-tested for the role before she was selected by the film's director Kamal Amrohi. The film was the third largest hit at the 1949 Indian box office. Following the success of Mahal, Madhubala appeared in the box office hits Dulari (1949), Beqasoor (1950), Tarana (1951) and Badal (1951).Mumtaz gave a fabulous performance in her maiden film Basant (1942). Devika Rani was amazed by her performance and talent and changed her name to Madhubala. In the movie Jwar Bhata (1944), she was to play the lead role with Dilip Kumar. But, things did not materialize and she could not work in the film. But, this gave her an opportunity to know Dilip Kumar. In the early 1950s, as Madhubala became one of the most sought-after actresses in India, she attracted interest from Hollywood. She appeared in the American magazine Theatre Arts where, in its August 1952 issue, she was featured in an article with a full page photograph under the title: "The Biggest Star in the World - and she's not in Beverly Hills". The article described Madhubala's immense popularity in India, and explored her wide appeal and large fan base. It also speculated on her potential international success.[8] Academy Award winner American director Frank Capra, while visiting Bombay for International Film Festival of India, was keen to give her a break in Hollywood, but her father Ataullah Khan declined.

Personal life and controversies[edit]

In their 1962 book Self-Portrait, Harish Booch and Karing Doyle commented that "(u)nlike other stars, Madhubala prefers a veiled secrecy around her and is seldom seen in social gatherings or public functions" (p. 76), and went on to say that "(c)ontrary to general belief, Madhubala is rather simple and unassuming" (p. 78).[6][20] This is echoed in Madhubala's sister's interview with the Filmfare: "(Madhubala) became a craze because she was never seen in public. She wasn’t allowed to attend any function, any premiere. She had no friends. But she never resisted, she was obedient. Being protective, my father earned the reputation of being domineering". Dilip Kumar added, "She was extremely popular ... and I think the only star for whom people thronged outside the gates. Very often when shooting was over, there’d be a vast crowd standing at the gates just to have a look at Madhu ... It wasn’t so for anyone else. That was her personal effect on fans. Her personality was vivacious." But, "she was aware of her beauty," reminisces B. K. Karanjia, former Filmfare editor and a close friend of both Madhubala and her father, "and because there were so many in love with her, she used to play one against the other. But it was out of innocence rather than shrewd calculation."[23] Dev Anand recalled in a similar way: "(s)he liked to flirt innocently and was great fun." However, with Dilip Kumar she had a long association.

Dilip Kumar and Madhubala first met on the set of Jwar Bhata (1944), and worked together again on the film Har Singaar (1949), which was shelved. Their relationship began two years later during the filming of Tarana (1951). They became a romantic pair appearing in a total of four films together. Actor Shammi Kapoor recalled that "Dilip Kumar would drive down from Bombay to meet Madhubala ... she was committed to Dilip ... he even flew to Bombay to spend Eid with her, taking time off from his shooting stint ..." "They even got engaged", said Madhubala's sister] But, Madhubala's father Ataullah Khan did not give them permission to marry. Dilip Kumar said, "She was a very, very obedient daughter", and who, in spite of the success, fame and wealth, submitted to the domination of her father and more often than not paid for his mistakes. "This inability to leave her family was her greatest drawback", believed Shammi Kapoor, "for it had to be done at some time." The Naya Daur (1957 film) court case happened in 1956 when Dilip Kumar testified against Madhubala and her father in favor of the director B.R. Chopra in open court. This struck a fatal blow to the Dilip-Madhubala relationship as it ended any chance of reconciliation between Dilip Kumar and Madhubala'a father. Reflecting on this, while Dilip Kumar said he was "trapped", Shammi Kapoor felt "this was something which went beyond him (Dilip) and he couldn’t control the whole situation ..." However, Madhubals's sister Madhur Bhushan claimed that "(Madhubala) said she would marry him (Dilip), provided he apologised to her father. He refused, so Madhubala left him. That one 'sorry' could have changed her life."

Madhubala married Kishore Kumar in 1960, and according to Leena Chandavarkar (Kishore's fourth wife): "When she realized Dilip was not going to marry her, on the rebound and just to prove to him that she could get whomsoever she wanted, she went and married a man she did not even know properly." B. K. Karanjia assumed that "Madhubala may have felt that perhaps this was her best chance" because by this time she became seriously ill, and was about to stop working completely; however, he added that "it was a most unlikely union, and not a happy one either." Madhubala’s illness was known to Kishore but like all the others, he did not realize its gravity; Ataullah Khan did not approve of his son-in-law at all but he had lost the courage to disapprove. Ashok Kumar reminisced in a Filmfare interview: "She suffered a lot and her illness made her very bad-tempered. She often fought with Kishore, and would take off to her father's house where she spent most of her time." Madhubala's sister echoes this view albeit in a slightly different tone: "After marriage they flew to London where the doctor told her she had only two years to live. After that Kishore left her at our house saying, ‘I can’t look after her. I’m on outdoors often’. But she wanted to be with him. He’d visit her once in two months though. Maybe he wanted to detach himself from her so that the final separation wouldn’t hurt. But he never abused her as was reported. He bore her medical expenses. They remained married for nine years.

Final years and death

Prithviraj Kapoor visiting the grave of Madhubala in 1969

Madhubala had ventricular septal defect (hole in her heart) which was detected while she was shooting for Bahut Din Huwe in Madras in 1954. By 1960, her condition aggravated, and her sister explains that "due to her ailment, her body would produce extra blood. So it would spill out from the nose and mouth. The doctor would come home and extract bottles of blood. She also suffered from pulmonary pressure of the lungs. She coughed all the time. Every four to five hours she had to be given oxygen or else would get breathless. She was confined to bed for nine years and was reduced to just bones and skin". In 1966, with a slight improvement in her health, she made a valiant attempt to complete her work in Chalak opposite Raj Kapoor, which needed only a short spell of shooting, but she could not even survive that strain. When acting was no longer an option Madhubala turned her attention to film direction. In 1969 she was set to make her directorial debut with the film Farz aur Ishq. However the film was never made as during pre-production, she breathed her last on February 23, 1969, shortly after her 36th birthday. She was buried with her personal diary at the Santa Cruz Muslim cemetery by her family and husband Kishore Kumar. Her tomb was built with marble and inscriptions included aayats from the Quran and verse dedications. Controversially, her tomb was demolished in 2010 to make space for new graves.

Madhubala's strong presence in the public memory has been evidenced by all recent polls about top actresses or beauties of the Indian cinema. Every year, on her birthday, numerous articles are printed and TV programmes aired to commemorate her, to the present day. Her posters are still in demand and sold alongside contemporary actresses, and modern magazines continue to publish stories on her personal life and career, often promoting her name heavily on the covers to attract sales. Many believe, however, Madhubala remains one of the most underrated actresses as "her beauty attracted more attention than her talent."

In 2004, a digitally-colorized version of the original Mughal-e-Azam was released, 35 years after her death. In 2012, her 1962 release Half Ticket was also remastered, digitally coloured and re-released.

On March 18, 2008, a commemorative postage stamp featuring Madhubala was issued. The stamp was produced by India Post in a limited edition presentation pack. It was launched by veteran actors Nimmi and Manoj Kumar in a ceremony attended by colleagues, friends and surviving members of Madhubala's family. The only other Indian film actress that was honoured in this manner was Nargis Dutt, at that point of time.

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