Madhubala, actress
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| + | =Biography= | ||
| + | ''' Magical Madhubala ''' | ||
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| + | By Subhash K. Jha or LMN or both [http://www.sentinelassam.com/images/page4.htm Sentinel Assam] | ||
| + | The name itself invokes so many enigmas, that it’s just overwhelming! Venus of the east, the most beautiful woman to adorn the Hindi film screen, Madhubala represents the era of beauty, romance and sometimes tragedy associated with Hindi films. | ||
| + | |||
| + | Born Mumtaz Jehan Begum Dehelvi in a poor Pathan Muslim family in 1933, she | ||
| + | made her debut as a child artiste in the early 40’s, she never looked back and though huge success eluded her for a while, it was Mahal which released in 1949 that made her a star forever. | ||
| + | |||
| + | Madhubala was 17 when she became a star and her aura in the film Mahal has spell binding capability. Ayega Aanewal she sung on screen, and froze one of the most glorifying moments of Hindi film history, a moment portraying timelessness of beauty in the purest form. | ||
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| + | Her beauty had child like quality, fragile yet confident. Her luminous eyes, her royal gait and that bewitching smile makes her the best poster picture one can imagine. For years I have noticed most beauty parlours adorning her on their walls as if endorsing their beauty business by the symbol of beauty itself. Madhubala was actress par excellence too, only she was not credited initially when her films flopped in the 50s (Tarana, Sangdil and Amar) could not meet box office success and she was labelled a jinx. Later, she however bounced back with a row of hit and memorable films culminating finally into the biggest film of Hindi cinema Mughal-E-Azam that truly made her a legend for her talent and not just beauty. | ||
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| + | It’s often when a woman is too beautiful, her beauty distracts from her performances. Whenever I watch a Madhubala film I’m spellbound by her beauty so much that it’s hard to notice her great performance. In Guru Dutt’s Mr.& Mrs.55 there is this scene when some street kids find her near Guru Dutt’s apartment (she is a rich woman dressed well), and mistake her to be a ‘fairy’, they do not want to come near fearing that the ‘fairy’ may disappear. This particular scene truly describes her persona. She was so very beautiful that she seemed surreal and one would be so stunned to see her that going near her other aspects was difficult. Such was the effect. | ||
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| + | She is well remembered for her role in Howrah Bridge where she played a seductress and the song Aayiye Meharbaan is perhaps amongst her most enchanting one’s. | ||
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| + | Madubala had brilliant comic timing and could easily match pace with Kishore Kumar too. Her role in Mr & Mrs 55 also showcased her comic talent, so did Half Ticket and Chalti Ka Naam Gaadi. | ||
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| + | Madubala was sadly diagnosed to have a heart condition at the peak of her career and she sadly could not continue to work. Also she went through heartbreak when her romantic relationship with Dilip Kumar could not culminate in a marriage. Dilip Ji and Madhubala will always remain a dream pair on Indian Screen, their chemistry was just too perfect, they just lighted up in each other’s presence and it’s so evident on screen. The feather sequence in Mughal-E-Azam will remain one of the most romantic moments of Hindi film history and Pyar Kiya To Darna Kya one of the best known dance sequence. She brought Anarkali alive in the most beautiful manner and immortalized her forever in our minds and hearts. | ||
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| + | She was known to be a through professional, punctual, with no starry airs she was known to have a child like demeanour and loved playing pranks and spreading smiles around her. Despite her heart condition she quietly let herself be chained with heavy iron ones for a sequence in Mughal-E-Azam, feeding in to her perfectionist director without complaining, though she was in great pain. | ||
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| + | It is said she really wanted to have a happy family and made an attempt at it by marrying Kishore Kumar who converted to Islam to marry her, but the cruel hands of fate were already grabbing her. She did undergo a Cardio Thorasic surgery, but it was to no avail. The Venus was ready to immortalise herself in her death too which came far too prematurely at the age of 36 in 1969. The world lost her to enigma, to the mystery of fate and it’s cruel hands grabbing the most beautiful woman in the prime of her youth. | ||
| − | + | But Madhubala has already etched herself in our hearts will always remain there forever. (LMN) | |
| + | =With Dilip Kumar= | ||
===Legal wrangles=== | ===Legal wrangles=== | ||
[http://timesofindia.indiatimes.com/news/Silent-knights-and-item-songs/articleshow/19757737.cms The Times of India ] | [http://timesofindia.indiatimes.com/news/Silent-knights-and-item-songs/articleshow/19757737.cms The Times of India ] | ||
Revision as of 20:59, 15 August 2014
This is a collection of newspaper articles selected for the excellence of their content. |
Contents |
Biography
Magical Madhubala
By Subhash K. Jha or LMN or both Sentinel Assam The name itself invokes so many enigmas, that it’s just overwhelming! Venus of the east, the most beautiful woman to adorn the Hindi film screen, Madhubala represents the era of beauty, romance and sometimes tragedy associated with Hindi films.
Born Mumtaz Jehan Begum Dehelvi in a poor Pathan Muslim family in 1933, she made her debut as a child artiste in the early 40’s, she never looked back and though huge success eluded her for a while, it was Mahal which released in 1949 that made her a star forever.
Madhubala was 17 when she became a star and her aura in the film Mahal has spell binding capability. Ayega Aanewal she sung on screen, and froze one of the most glorifying moments of Hindi film history, a moment portraying timelessness of beauty in the purest form.
Her beauty had child like quality, fragile yet confident. Her luminous eyes, her royal gait and that bewitching smile makes her the best poster picture one can imagine. For years I have noticed most beauty parlours adorning her on their walls as if endorsing their beauty business by the symbol of beauty itself. Madhubala was actress par excellence too, only she was not credited initially when her films flopped in the 50s (Tarana, Sangdil and Amar) could not meet box office success and she was labelled a jinx. Later, she however bounced back with a row of hit and memorable films culminating finally into the biggest film of Hindi cinema Mughal-E-Azam that truly made her a legend for her talent and not just beauty.
It’s often when a woman is too beautiful, her beauty distracts from her performances. Whenever I watch a Madhubala film I’m spellbound by her beauty so much that it’s hard to notice her great performance. In Guru Dutt’s Mr.& Mrs.55 there is this scene when some street kids find her near Guru Dutt’s apartment (she is a rich woman dressed well), and mistake her to be a ‘fairy’, they do not want to come near fearing that the ‘fairy’ may disappear. This particular scene truly describes her persona. She was so very beautiful that she seemed surreal and one would be so stunned to see her that going near her other aspects was difficult. Such was the effect.
She is well remembered for her role in Howrah Bridge where she played a seductress and the song Aayiye Meharbaan is perhaps amongst her most enchanting one’s.
Madubala had brilliant comic timing and could easily match pace with Kishore Kumar too. Her role in Mr & Mrs 55 also showcased her comic talent, so did Half Ticket and Chalti Ka Naam Gaadi.
Madubala was sadly diagnosed to have a heart condition at the peak of her career and she sadly could not continue to work. Also she went through heartbreak when her romantic relationship with Dilip Kumar could not culminate in a marriage. Dilip Ji and Madhubala will always remain a dream pair on Indian Screen, their chemistry was just too perfect, they just lighted up in each other’s presence and it’s so evident on screen. The feather sequence in Mughal-E-Azam will remain one of the most romantic moments of Hindi film history and Pyar Kiya To Darna Kya one of the best known dance sequence. She brought Anarkali alive in the most beautiful manner and immortalized her forever in our minds and hearts.
She was known to be a through professional, punctual, with no starry airs she was known to have a child like demeanour and loved playing pranks and spreading smiles around her. Despite her heart condition she quietly let herself be chained with heavy iron ones for a sequence in Mughal-E-Azam, feeding in to her perfectionist director without complaining, though she was in great pain.
It is said she really wanted to have a happy family and made an attempt at it by marrying Kishore Kumar who converted to Islam to marry her, but the cruel hands of fate were already grabbing her. She did undergo a Cardio Thorasic surgery, but it was to no avail. The Venus was ready to immortalise herself in her death too which came far too prematurely at the age of 36 in 1969. The world lost her to enigma, to the mystery of fate and it’s cruel hands grabbing the most beautiful woman in the prime of her youth.
But Madhubala has already etched herself in our hearts will always remain there forever. (LMN)
With Dilip Kumar
Legal wrangles
The best-known case of a famous actress losing her good name in the wake of a much publicized court case is Madhubala, screen goddess of the 1950s. Producer-director B R Chopra filed a case against Madhubala and her father Ataullah Khan, early into the making of his Naya Daur (1957) for cheating — for taking cash advance on the film and then refusing to honour her contract. The film's hero Dilip Kumar testified in court against Madhubala making for courtroom drama
Instigation by Dilip Kumar? (March 30 | 1957)
From TOI archives (March 29 | 1957)
Dilip Kumar said he had found it "hard to digest" when he heard from the producers of the film in which he was given a role opposite Madhubala that they had to pay Madhubala a sum of Rs 32000 "under duress". He said that he repeatedly told her, that what they had done was wrong...
Dilip Kumar, the Indian screen idol, was charged with having instigated ... B R Films, to file a suit against Madhubala, a film star, for alleged cheating at the resumed hearing of the case ... Presidency magistrate, Girgaum Court...
Madhubala and her father Attaullah Khan, were charged with failure to honour contractual obligation for a film in which she had agreed to play the feminine lead. Mr B M Mistry, advocate for Madhubala, accused him of being the man "behind the prosecuion". "He (Dilip Kumar) is a jilted lover," he asserted. Answering a question whether he was in love with Madhubala, Dilip Kumar said she wanted to marry him. "I too loved her; it was a mutual feeling," he stated. When asked why he could not marry her, witness stated that it was because of Madhubala's responsibilities towards her father. He believed that was the only obstacle to their marriage.
To another question he answered that the feeling and desire for marriage with her continued till he had felt that she had acted in a manner not consistent with the norms of good behaviour...Witness denied that he was drunk on July 4, 1956 when he had gone to Madhubala's house in Bandra....
See also
Madhubala, actress
