Madhubala Indian Actress BiographySource(google.com.pk)
Date of Birth
14 February 1933, Delhi, India
Date of Death
23 February 1969, Bombay, India (hole in the heart)
Begum Mumtaz Jehan Dehlavi
5' 4" (1.63 m)
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.
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.
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.
Madhubala got a major break, when she was signed opposite to Raj Kapoor in Kidar Sharma's film 'Neel Kamal' (1947). She was more often referred to as the "Venus of the Screen". Within a span of two years, she established her career and came into limelight. She constantly kept climbing the ladders of success and her films were super hit. Mughal-e-Azam turned out to be the biggest hit. In her short lifetime, she worked in seventy films.
Relationship with Dilip Kumar
Madhubala and Dilip Kumar got an opportunity to get along with each other on the set of Jwar Bhatta (1944). When they worked together in Mughal-e-Azam for a long period of nine years, Madhubala started having hots for him. It is even said that, Madhubala had once sent him a note accompanied by a flower. Dilip Kumar reacted in a favorable manner and they got engaged with each other. Madhubala was very serious about marrying him, but he did not pay much of attention on her and chose someone else for marriage. Later, Madhubala got married to Kishore Kumar, a well known name of the Indian film industry.
In a routine check up, it was discovered that Madhubala had a hole in her heart. Her ailment was kept secretive from the film industry. The doctors refused to operate on her, as there was virtually no hope of survival. The doctors said that even if the operation is successful, she won't live for more than a year. It was at that point of time that, she realized that she shouldn't have married Kishore Kumar. She passed away on the February 23, 1969.
Works of Madhubala
Baghdad Ka Chor
Neki Aur Badi
Barsaat Ki Raat
Arguably the most beautiful artiste to ever grace the Indian screen, Madhubala rose from humble beginnings to become the most captivating star India has ever produced. Madhubala was born Mumtaz Jehan Begum on Valentine's Day 1933, in a poor, conservative family of Pathan Muslims in Delhi, a part of a prolific brood of sisters, and entered the world of films at the tender age of eight. After about five years of playing child roles, Madhubala got her first break in a lead role in Neel Kamal (1947), produced anddirected by her mentor, veteran filmmaker Kidar Sharma. At the age of 14, she played a romantic lead against another fledgling star, Raj Kapoor, and Madhubala had finally arrived on the Indian screen. Over the next two years she had blossomed into a truly rapturous beauty (which earned her the sobriquet of the Venus Of the Indian Screen) and with the movie Mahal (1949), literally overnight, she was a superstar.
It has been often said that her beauty overshadowed her acting talents, which to an extent is true; however this was more due to poor judgement than lack of talent. Being encumbered by a large family to support, and forever living under the domination of an imperious father who, she made several poor choices in movies which seriously undermined her credibility as a serious performer, to the extent of being labelled "box-office poison". However, her more or less dismal repertoire in the 50s was marked by spots of true brilliance - movies like Tarana (1951), Mr. & Mrs. '55 (1955) and of course her swansong Mughal-E-Azam (1960) showcased her remarkable talents as a serious artiste across several genres and revealed what this ethereal beauty was truly capable of.
Sadly, she was plagued by a persistent heart disease that confined her to a bed for almost nine torturous years, and eventually claimed her life on February 23 1969, nine days after her 36th birthday. In this short life, she had made over 70 movies, and to this day remains one of the most enduring legends of Indian cinema.
IMDb Mini Biography By: Hrishi Dixit <firstname.lastname@example.org>
Kishore Kumar (1961 - 23 February 1969) (her death)
Daughter of Attaullah Khan.
Formed a popular screen couple with Dev Anand Dilip Kumar.
Screen name Madhubala given to her by veteran actress Devika Rani.
After she was diagnosed as having a hole in her heart, she put on a brave face and her illness was kept a secret from the industry for many years. She frequently used to cough up blood on sets, and eventually her illness forced her to end her career.
She and Dilip Kumar met on the set of Tarana (1951) when she was eighteen years-old. While filming, she sent her hairdresser with a note written in Urdu along with a red rose asking him to accept it if he loved her, which intrigued and amused him and so he accepted the rose.
She and Dilip Kumar had a seven-year courtship, but abruptly ended when she could not face her father's opposition to Dilip and ultimately had to bow out of B.R. Chopra's film opposite him following a scandalous court case.
She was proposed to by Bharat Bhushan, Pradeep Kumar, and Kishore Kumar. She eventually married the latter of the three, Kishore, who converted to Islam to marry her.Madhubala has become an icon, she is celebrated as the single most beautiful actress Hindi cinema has ever produced. In an industry seeped in melodrama and grand histrionics such a title does not come without a price. She embodied the image of beauty and a life right out of a Bollywood script.
Madhubala dreamt of becoming a movie star from a young age. In fact a trusted holy man had predicted that she would have fame and fortune but would lead an unhappy life and die at a young age.
Her jobless father took her to Bombay remembering the holy mans words. They struggled for over a year when Mumtaz was chosen for a childhood role in Basant. Devika Rani was impressed with her performance and changed her name to Madhubala, who was to appear in Jwar Bhata, in which Dilip Kumar was playing the lead role. She was unable to work in the movie but this was the moment the youngster first set eyes on Dilip Kumar.
In her short life, however, she notched up a legion of achievements. She started working at eight. Father Ataullah Khan had a large brood of children and the family needed the money. As Baby Mumtaz, she was first seen as a child star in Bombay Talkies's Basant (1942). She was one of the bones of contention between her warring parents, Ulhas and Mumtaz Shanti. Madhubala even sang a snatch of song in this golden jubilee blockbuster.
Subsequently, she did a few unremarkable films as a child artiste, until Kidar Sharma cast her as a heroine in Neelkamal (1947) opposite another newcomer Raj Kapoor. Madhubala was barely in her teens and nowhere as beautiful as she grew to be, yet filmmakers flooded her with contracts. Mohan Sinha alone directed her in four films in the 1947-1948 phase.
Keen to secure herself financially, Madhubala worked in as many as 24 films in the first four years of her adult career. But the film that catapulted her to stardom was Mahal (1949), in which she was cast opposite superstar Ashok Kumar, 20 years older than her. Madhubala played the enigmatic gardener's daughter and gave lip sync to Lata's immortal Ayega aanewala in this fascinatingly complex Kamal Amrohi psychodrama. She made a crowd pleasing will o' the wisp.
Barring a few stray successes like Baadal and Beqasoor, Madhubala had a string of commercial disappointments in the early 1950s. She even ventured into production and made Naata for herself. Mehboob Khan's Amar (1954) was arguably Madhubala's first truly mature performance. She had worked with Dilip Kumar in Taraana and Sangdil and turned in sensitive interpretations; but the quiet romantic despair and steely moral resolve she displays after realising her lover Dilip Kumar's dark secret (he had seduced Nimmi and now wants to back out) in Amar was heartbreaking.
The next year she showed a flair for comedy while playing the modern miss in Guru Dutt's diametrically different Mr And Mrs 55. She was then diagnosed with a heart ailment that was potentially fatal. Further, talks of the end of her association with Dilip Kumar escalated when she was replaced in B R Chopra's Naya Daur (1957) and had to suffer an acrimonious court case.
ortunately, at the box-office, Madhubala finally realised her full potential soon thereafter when she starred in a row of successes in the second half of 1958: crime thrillers Howrah Bridge and Kaala Paani (Nalini Jaywant may have had the more dramatic role in the latter, but you could not ignore Madhubala as the crisply efficient crusading journalist), the musical Phagun and the rollicking comedy, Chalti Ka Naam Gaadi. Known to be an inveterate giggler in real life (it unnerved costars and directors till they got accustomed to it) Madhubala displayed a rare comic electricity with Kishore Kumar. Her full-lipped smiles and mischievous coquettery perfectly complemented his inspired antics. Eager to be a bride, she had a low key marriage with the singer-actor.
For a decade, Madhubala had invested her best efforts into Mughal-e-Azam, whether it was posing as a veiled statue in a heavy zari outfit for hours under the sweltering sun to get the perfect shot or willingly being shackled with heavy chains. It all paid off when the film was released in 1960 and declared an instant classic.
She was stunning in the glimpse we had of her in colour (Jab pyar kiya toh darna kya), and she spoke her brilliant lines in perfectly pitched cadences with the bruise of heartache in her voice. After Mughal-e-Azam, the best of times ironically coincided with the worst of times for Madhubala. She could have had the best of roles but was advised not to overwork and exert herself. She valiantly tried to make a comeback in the mid-1960s by completing Chalak but she was soon confined to her bed. Finally, on February 23, 1969, within days of her birthday, Madhubala succumbed to a heart attack.
* 1949 Mahal
* 1951 Taraana
* 1954 Amar
* 1955 Mr And Mrs 55
* 1958 Howrah Bridge
* 1958 Kaala Paani
* 1958 Chalti Ka Naam Gaadi
* 1960 Mughal-E-Azam
* 1960 Barsaat Ki Raat