Madhubala

Tagged the “biggest star” in the international film industry, Madhubala had offers pouring in from Hollywood.

Compared to Marilyn Monroe, Madhubala’s looks and aura impressed Frank Capra, who was keen to give her break in the United States. However, Madhubala’s father, Ataullah Khan, declined the offer.

Madhubala formed a tremendous onscreen pair with Dilip Kumar with whom she first featured in Tarana (1951), Sangdil (1952), Amar (1954), and the classic Mughal-E-Azam (1960).

One of the busiest stars of the 1950s, Madhubala worked with leading filmmakers such as Mehboob Khan, Guru Dutt, K. Asif and shared the screen with nearly all the leading men and women of the period, such as Ashok Kumar, Raj Kapoor, Dilip Kumar, Dev Anand, Kamini Kaushal, Suraiya, Geeta Bali and Nimmi.

Their reel chemistry transformed into real attraction, and the two fell in love.

Some believed that Ataullah Khan did not allow his daughter to marry Dilip Kumar as she was the family’s bread earner. He even had Madhubala walk out of films such as Naya Daur (1957) as it had a long outdoor schedule.

The affair ended in tragedy when Madhubala’s father played spoilsport and stopped his daughter from marrying Dilip Kumar.

Madhubala was probably at her best in Kala Paani (1958) where her smoldering chemistry with co-star Dev Anand set the screen on fire.

Although known as the tragedy queen, Madhubala featured in some of the greatest comedies of the period, such as Mr & Mrs. 55 (1955), Chalti Ka Naam Gaadi (1958), and Half Ticket (1962).

Madhubala would later go on to marry Kishore Kumar.

During the shooting of Bahut Din Huwe (1954) it was discovered that Madhubala was suffering from a congenital heart defect. In an era before open-heart surgeries were possible, it was a matter of time before it would be difficult for her to even function.

Over the years, her output decreased, and by the 1960s, it had become difficult for her to continue working.

Madhubala had a short life and a brief film career but in both she left an indelible impression.

Madhubala’s presence in public memory only grows stronger with the time where leading newspapers of the world publish belated obituaries.

It’s this luminance and brilliance that defined Madhubala both in life and death.

Braving ill health, Madhubala managed to complete working on K. Asif’s opus Mughal-E-Azam (1960), which fetched her only Filmfare nomination. The film remains a milestone in not only world cinema, but also Madhubala’s career.