Guest article by DP Rangan as a tribute to Madhubala on her 86th birth anniversary (14 February 1933- 23 February 1969)

(The regular readers of Songs of Yore are aware of the tremendous enthusiasm of DP Rangan for writing on various themes and artistes associated with old film songs. After covering themes like Horses, Tonga, Moon, Stars, Bacchus, Deepavali, Steam Engine, Flowers, Cycle, Waterfall, Tasveer and Nuptials, Mr Rangan wrote life sketch of film stars and music directors. He has already written excellent articles on Sajjad Hussain, Suraiya and Meena Kumari. Carrying on the good work, Mr Rangan pays a tribute to the incredible beauty, Madhubala, commonly known as the Venus of Indian Cinema. It is a befitting coincidence that she was born on the Valentine’s Day.

Mr Rangan is a retired civil servant. At seventy-plus, his zeal can be the envy of many persons much younger to him. SoY is lucky to have him among the family. I join him in paying my tribute to the ethereal beauty, Madhubala, and also wishing the readers a very Happy Valentine’s day. Thank you Mr Rangan for your contribution to this blog. – AK)

Imagine an audience bedazzled by the beauty of the heroine of the Film they are intensely focused on, and coming out at the conclusion completely dazed and still reliving in the dream world of the preceding few hours, and the harsh wakeup to the reality of day to day struggle for carrying on their mundane life. Such was the hold of Madhubala on the public during the heydays of 1950s and 1960s. She was not an actress who could excel in serious roles as her contemporary Meena Kumari and yet such was her mesmerisation of one and all, even when her acting was below par now and then, it was glossed over. Yet her life was not a bed of roses, but one of thorn. She was a glorious star in the film world during her halcyon years, In astronomical language, she could be equated to super massive blue stars that gallop through their life rapidly and sink into a red dwarf or a black hole. She was amply endowed with je ne sais quoi. While Meena Kumari committed seppuku by excessive indulgence in drinks, our contemporaneous heroine was born with a major debility which was to prove a torment in the last few years of her life that did not complete forty years of existence. It is my humble attempt to recapitulate her life with my limited ability and I request patrons of the blog to keep this in mind while going through this post. This is my fourth biography and I am certain the three previous ones of Meena Kumari, Suraiya and Sajjad Hussain are already archaeologist’s delight.

Our heroine came into this world on 14^th February 1933, (fifth child out of a total of eleven that were born to her parents) at Delhi. This date is celebrated as Valentine’s Day, as a symbol of romantic love. She was named Mumtaz Jehan Dehlavi at birth. Her father, Attaullah Khan was a conservative Yousafzai Pasthun from the old Peshawar valley, Khyber Pakhthunkwa. Having lost his job he shifted to Delhi. The family were in dire straits and dogged by poverty all along. During those years, she lost four sisters and two brothers leaving behind just five sisters. An astrologer (najoomi) by name Kashmirwale Baba, prophesied that Mumtaj will have a great future and live amidst riches and splendor, but qualified it with another dire prediction that she will lead a miserable life with unfulfilled love life and will meet an early death. Subsequent events bore out the accuracy of this clairvoyant foretelling. In search of a better pasture they relocated to Bombay taking residence in a slum close to Bombay Talkies, an act of deracination forced on the family. Even as a child she was of a different élan with promises of evolving into a great beauty in later years. For sheer survival, her father with his handsome daughter in tow, toted around to find an acting role for her. She had a lift up as a child actress Baby Manju in the film Basant in 1942, when she was just nine. She trudged along for the next few years till 1946, playing in minor roles for 5 more films. By then she had established her skills as a budding actress. Devika Rani, part owner of the Bombay Talkies suggested that she adopt Madhubala (Honey Belle) as her screen name. Kidar Sharma cast her opposite Raj Kapoor in Neel Kamal (1947). As a fourteen year old heroine her stage performance was appreciated. With this breakthrough she rose gradually. Eleven films later, her splendid acting as a pseudo ghost to ensnare Ashok Kumar in her coils in the film Mahal (1949) catapulted her to the top rung. Thereafter, there was no looking back and she was the darling of picture viewers for the next decade.

She acted in 71 films from Basant (1942) to Jwala (1971). I am giving a breakup of the films and the leading heroes during this period.

Years	Films
1942 – 46	6
1947 – 50	23
1951 – 55	17
1956 – 60	19
1961 – 64	5
1971	1
Total	71

In a matter of fourteen years from 1947 to 1960 she appeared in 59 out of a total of 71 films and from 1961 onwards it was a mere trickle. The last film was released two years after she was no more.

She acted opposite many actors during her reign which included almost all the established ones of that era.

Actors	No. of films
Dev Anand	8
Pradeep Kumar	6
Raj Kapoor	5
Kishore Kumar	5
Ashok Kumar	4
Dilip Kumar	4
Total	32

She also had occasions to act with Bharat Bhushan (3), Shammi Kapoor (3), Prem Nath (2) and Sunil Dutt (2). Twentytwo actors appeared against her in the balance 29 films. She acted with her mentor Kidar Sharma, who gave her a break in 1947, in the film Neki aur Badi (1949), a maiden venture for Roshan as a music director with near catastrophic consequences for him. It is my unenviable task as a recounter of her acting career to present these dry statistics. I will now upload a few songs from her films. Presenting live videos of songs in which she can be viewed is an ideal goal and I will try to adhere to it to the extent possible.

1. Tumko Mubarak ho by Madhubala from Basant (1942), lyrics Pyarelal Santoshi, music Pannalal Ghosh

Her maiden venture as a child actress with the moniker Baby Mumtaz set her on a film career from this movie. The song is picturised on a Children Radio Broadcast and her performance in a child voice is indeed good to hear. It is averred music was composed by Anil Biswas but was credited to Pannalal Ghosh due to contractual obligations.

2. Paathar se tum dhoodh bahao by Mukesh & Zohrabai Ambalewali from Neel Kamal (1947), lyrics Kidar Sharma, music B. Vasudev

Madhubala’s maiden entry as a full-fledged heroine opposite Raj Kapoor. The theme appears to be Krishna’s leelas in Brindaban, Mathura. Out of eleven songs, I am presenting this. This sweet teenager’s dancing in the video is gracious to say the least.

3. Aaha mere Mohan ne mujkho bulaya by Geeta Dutt from Dil Ki Rani (1947), lyrics Harikrishna Premi, music S. D. Burman

Madhubala singing in joyous abandon in the sultry voice of Geeta Dutt and she seems to have shed her teenager look.

1949 (8) & 1950 (6)

Major hits during this period were films such as Sipahiya, Mahal, Dulari, and Nirala. Here are a few songs.

4. Mushkil hai bahut mushkil by Lata Mangeshkar from Mahal (1949), lyrics Nakshab Jarachvi, music Khemchand Prakash

An iconic film uplifting Madhubala as a prominent actress from then on. Unparalleled music by Khemchand Prakash and the evergreen Aayega aanewala have a permanent niche in all lovers of old period music. I chose this song depicting Madhubala questioning herself how she will face life without her lover.

5. Do din ki bahaar pyare by Lata Mangeshkar from Dulari (1949), lyrics Shakeel Badayuni, music Naushad

Suresh, Madhubala, Jayant and Geeta Bali are the major participants in this film dealing with the travails of a rich man’s daughter kidnapped as a child by a gypsy band and reared as such, and her eventual rescue and reunion with her true parent. This has me beaten for classification. It is not our blogmaster’s triangle, but a quadrilateral – Madhubala in love with Suresh, Jayant with Madhubala and Geeta Bali with Jayant. AK may still argue it is a triangle, if each love pursuit is viewed as one side. Leaving aside the disputation,  let us enjoy the public show of dance by Madhubala along with her co-gypsies. Hero, equestrian Suresh, is devouring her with his eyes from the vantage of horse back.

6. Aankhiyan mila ke zara baat karoji by Mohammad Rafi and Lata Mangeshkar from Pardes (1950), lyrics Shakeel Badayuni, music Ghulam Mohammad

A Rehman, Madhubala, Karan Dewan starrer, the film has 11 songs. This is a well-known duet.

7. Aayi bhor suhani aayi by Lata Mangeshkar from Beqasoor (1950), lyrics Arzoo Lakhanavi, music Anil Biswas

Ajit, Pramila and Yakub are co actors. Seventeen year old Madhubala in full bloom is crooning happily.

1951 (7) and 1952 (2)

Very difficult to choose films that could be dubbed as hits. It would be heavily influenced by individual preferences. All the great music directors have been associated with these 9 films and it is a musical extravaganza. As a writer I consider the films Tarana, Badal and Sangdil.

Madhabula’s debut acting with Dilip Kumar started with Tarana (1951). It was instant chemistry of love between them and set in motion forthwith an affaires de coeur . It would drag on for several years only to sink in a quagmire. Like Suraiya and Meena Kumari she had to face hurdles posed by her over possessive father Attaulah Khan, who guarded the source of sustenance for sheer survival and did not approve of the affair. I will take up further link later on. Now for a few songs from this period.

8. Nain mile nain hue baware by Talat Mahmood and Lata Mangeshkar from Tarana (1951), lyrics Prem Dhawan, music Anil Biswas

Another AK love triangle G-B-G, tussle between Madhubala and Shyama for Dilip Kumar. Story is a typical one of its time. After many twists and turns, true love triumphs. Anil Biswas has enlivened the entire picture with his delectable music suited to the scenes. This song is a ditty of love enacted by Madhubala and Dilip Kumar. Another duet, Seene mein sulagate hain armaan, full of anguish for the separated lovers is also a great piece. I did not pick it on the presumption it would have figured in AK’s earlier post – Distant Duet Songs or some such.

(Note: Mr Rangan has made some references to ‘AK; Love triangle’. Please see My serious review of the film ‘Sangam’ – AK)

9. Parwane ho parwane by Lata Mangeshkar from Nazneen (1951), lyrics Shakeel Badayuni, music Ghulam Mohammad

Nazir Khan, Jayant and danseuse Cuckoo are in the film. No live video is available. Yet assuming it would be sung by Madhubala, I am uploading this wonderful song. Another song – O zindagi ke malik tera hi asra hai – is equally alluring.

10. Unse pyar ho gaya by Lata Mangeshkar from Badal (1951), lyrics Shailendra, music Shankar-Jaikishan

Premnath acts as the defiant champion of downtrodden in the kingdom and his swashbuckling performance and carrying on a love affair in the same breath is the cornerstone of the picture. The movie is full of his derring-do and Shankar-Jaikishan have showered the film with their buoyant music. Here the princess has fallen in love with the champion of oppressed and exhibits her delight with full passion.

11. Dil me sama gaye sajan by Lata Mangeshkar and Talat Mahmood from Sangdil (1951), lyrics Rajinder Krishan, music Sajjad Hussain

An adaptation from Charlotte Bronte classic Jane Ayre, Dilip Kumar and Madhubala in their second film get-together have put in stellar performances. Sajjad Hussain, the perfectionist has given one of his best music direction for the film and this duet and the love scene are a treat.

Madhubala’s fame crossed national frontiers and knocked at Hollywood. In August 1952 issue of ‘Theatre Arts’ magazine, a full featured article entitled ‘The Biggest Star in the World (And She’s Not In Beverly Hills) with a full page photo was published. American film maker Frank Capra while on a visit to Bombay sought a meeting with her to propose an assignment in Hollywood. An alarmed father put his foot down against it and our heroine tamely acquiesced and lost a chance to act in Hollywood.

1953 to 1956

Just 11 films during this lean period for her. Economic compulsions to support her big family forced her to accept assignments which did not add anything to her reputation. Most of them were run of the mill movies.

In 1954 she had a great setback to her health. She was in Madras to act in the film Bahut Din Huye under the banner of Gemini Studios. She vomited blood while on the set. “Dilip saab flew in with Dr Rustom Jal Vakil from Mumbai. He diagnosed she had a hole in the heart (ventricular septal defect). Aapa appeared so healthy and beautiful. She found it hard to believe and so did others. She didn’t take it seriously. She kept on working and signed more films,” recalls Madhur. (Revelations of Madhu Bhushan younger sister of Madhubala). After recovery she completed the assignment and continued working diligently in another 30 films till 1964 ignoring her delicate health condition.

12. Tere sadke balam by Lata Mangeshkar from Amar (1954), lyrics Shakeel Badayuni, music Naushad

Dilip Kumar, Madhubala and Nimmi combo film. Hero gets involved with poor girl Nimmi while courting Madhubala and the resulting imbroglio leads to a twist in the end. This song by Madhubala depicts her in a romantic mood and it is a trade mark Naushad song.

Her only film with Guru Dutt as hero, Mr. & Mrs. 55, was a satire par excellence. She excelled in her role as a carefree heiress Anita with aversion for fortune hunters. Johnny Walker, a find of Guru Dutt does his role of a comedian with aplomb. O. P. Nayyar was his usual self and many great songs were the result. Majrooh Sultanpuri and Saroj Mohini Nayyar were the two lyricists.

1957 (3)

The year proved to be a watershed for the love affair of Dilip Kumar and Madhubala, which has been progressing since 1951 even under the vigilant eyes of her father. She always kept herself from the public glare and never aspired for any publicity. Rumours of her love affair with Dilip Kumar were bruited about. Dilip Kumar escorted her during the premiere of Gemini’s Insaaniyat (1955) in which she had no role and thus the affair got confirmed before the adoring cine viewers.

It might have proceeded perhaps to permanent bondage but fate intervened and ensured our heroine was not to enjoy marital bliss. It hit a roadblock soon. B.R. Chopra signed Dilip Kumar and Madhubala for his venture Naya Daur and paid her advance. She had to proceed to Bhopal for outdoor shooting for a prolonged period. Her ever suspicious father threw a wrench and insisted that the sequence be shot in a studio in Bombay itself. The producer did not agree and insisted on honouring the commitment. Madhubala again caved in to her father’s whims in abandoning her role. A determined B. R. Chopra, substituted her by Vyjayantimala and released the film. An infuriated Ataullah Khan filed a case against Chopra and the later started one against our heroine’s father. The court battle became a public gossip and Dilip Kumar-Madhubala love affair was bandied about in embarrassing detail and was a source of discomfiture. Dilip Kumar already upset with the attitude of her father all along gave testimony in court against him. Ataullah Khan lost his case. This was the last straw and their relationship came to an end.

Gateway of India and Ek Saal released in 1957 were great musical hits. It is very difficult to present a representative song from among them. It would appear partial. Out of sheer necessity I make my choice.

13. Do ghadi wo jo paas aa baite by Mohammad Rafi and Lata Mangeshkar from Gateway of India (1957), lyrics Rajendra Krishna, music Madan Mohan

Pradeep Kumar, Bharat Bhushan and Johnny Walker along with Madhubala were the main actors. Many of the eight songs are truly great compositions by Madan Mohan and one will never tire of listening to them. Bharat Bhushan and Madhubala are singing this duet with abandon while there are killers on the street hunting for them. Sapne me sajan se do baatein, another serene solo by Lata Mangeshkar was cut from the film.

14. Chale bhi aao tumhein kasam by Lata Mangeshkar from Ek Saal (1957), lyrics Prem Dhawan, music Ravi

A social drama with Ashok Kumar in the role of a villain paying court to the daughter of a rich retired Colonel with the intention of running away with their jewels and money along with the Lucknow courtesan Kuldeep Kaur. Johnny Walker and Minoo Mumtaz are a good diversion. Everything ends well with a repentant Ashok Kumar choosing Madhubala in the end. In this song Madhubala is eagerly expecting her lover to pay court to her. Ravi has given one of his best performances. I chose this over the well-known song, Sab kuchh luta ke hosh mein aaye to kya kiya by Talat Mahmood and Lata Mangeshkar as solos.

1958 (6) and 1959 (3)

Three films, Chalti Ka Naam Gaadi, Phagun and Howrah Bridge were great hits. In Kal Hamara Hai (1959), Madhubala plays dual role – cigarette smoking dancer Bela and a chaste Madhu and showcases her ability to excel in both.

15. Main sitaroon ka tarana by Asha Bhonsle and Kishore Kumar from Chalti Ka Naam Gaadi (1958), lyrics Majrooh Sultanpuri, music S. D. Burman

This is a comedy through and through. The only instance of three Kumar brothers Ashok, Anoop and Kishore acting together. Ashok Kumar, a misogynist, brings up his younger siblings without a whiff of female presence while running a motor repair shop. Madhubala acts as a whimsical, mischievous and carefree girl drawing circles over the hapless Kishore Kumar. In this dream sequence Kishore Kumar is pleading with her to pay ‘Paanch rupiah barah anna marega bhaiya na na na’ for repairing her car when it was brought in during a rainy night. She is toying with him like an imp.

16. Dekh ke teri nazar by Asha Bhonsle from Howrah Bridge (1958), lyrics Qamar Jalalabadi, music O.P. Nayyar

True to expectations Madhubala renders a stellar performance as an Anglo-Indian cabaret dancer in a Chinatown underground den, Calcutta. The film is tailor made for O.P. Nayyar music and he as usual never fails to exceed expectations. Mohammad Rafi just renders a line. A real teaser and the way she confronts Ashok Kumar and make him run away in confusion is great to watch.

17. Aa aa meri taal pe naach le babu by Geeta Dutt from Kal Hamara Hai (1959), lyrics Majrooh Sultanpiri, music Chitragupt

Bharat Bhushan and Leela Chitnis are the co actors. Look at the way Madhubala performs as a club dancer Bela. Selection of Geeta Dutt, known for her expert rendition in such songs with her husky voice adds to the charm of the song.

18. Ye sach hai he duniawalon by Mohammad Rafi from Kal Hamara Hai (1959), lyrics Majrooh Sultanpuri, music Chitragupt

Mahommad Rafi alone can light such a situation in a magnificent manner and convey the right atmosphere with the way he renders the song. The chaste girl Madhu appears towards close of the video.

1960 to 1964 (10)

Her heydays were behind her. Still a brief sparkle was left and her bad health now worsened by her neglect and forced her to reduce her assignments even though she was still at the height of popularity. The main films of note were Mughal-e-Azam and Barsaat Ki Raat. Her last performance as a mischievous fun loving character was in Half Ticket along with Kishore Kumar.

Mughal-e-Azam (1960)

K Asif’s magnum opus was ten years in the making from 1950. The film progressed as the peaks and troughs in the love affair between her and Dilip Kumar. Released on 5th August, 1960 it was a resounding box office success and was the biggest earner for next 15 years till overshadowed by Sholay in 1975.

Despite her poor health and frequent faintings, Madhubala acted in the role of Anarkali to perfection. She had already broken up with Dilip Kumar and they ceased to talk to each other. Still each had to perform a part assigned. This was an added mental strain. Naushad’s music is par excellence as also lyrics by Shakeel Badauni. The highpoint of the film – Madhubala openly defying Emperor Akbar and exposing her love affair with Saleem in a court dance is worth watching again and again. Contrast this with a similar scene from Anarkali where an inebriated Bina Rai in a drunken stupor exposes her love for his son Salim and C. Ramchandra composes a song to suit the scene. Madhubala is supremely arrogant in this dance of defiance. Her malapert attitude is something admirable. I have chosen this song depicting Madhubala in chains. What is galling is the fact – the producer Asif insisting on shackling Madhubala in heavy chains to bring realism to the scene. Madhubala already in a frazzle because of her ill health still subjected herself to this torture. She was nominated for Filmfare award but Bina Rai pipped her to the post for her acting in Ghunghat.

19. Bequs pe karam kijiye Sarkar-e-Madina by Lata Mangeshkar frpm Mughal-e-Azam (1960), lyrics Shakeel Badayuni, music Naushad

20. Zindagi bhar nahi bhoolegi by Lata Mangeshkar from Barsaat Ki Raat (1960), lyrics Sahir Ludyanvi, music Roshan

The story revolves around a struggling Urdu poet Aman (Bharat Bhushan) and Shabnam (Madhubala) who fall in love when they encounter each other in a stormy rainy night and how it ultimately succeeds through hurdles posed by the girl’s father. Roshan, the Emperor of Qawwalis has set to tune the songs as a genius and the pinnacle is the great qawwali song – Na to kaarwan ki talash hai. Madhubala is recollecting the first meeting with her lover with this song which she heard as a radio broadcast.

She had acted with Kishore Kumar in two films prior to 1960: Dhake Ki Malmal (1956) and Chalti Ka Naam Gaadi (1958). After the failed love affair with Dilip Kumar post 1957, as a rebound she got married to Kishore Kumar in 1960 overruling her parent. Her health worsened and Kishore Kumar took her to London. Heart surgery was at infancy and doctors there refused to operate saying she will not survive. They warned that she will not live for more than one year. She returned home dejected. Kishore Kumar left her with her parents considering her conditions. She acted in six more films. Her last film Jwala, her only full colour movie, was released two years after her demise in 1971. I am posting one more song from the film Half Ticket, a hilarious comedy with Kishore Kumar. Her strength of mind to involve herself in the film despite her poor health is truly commendable.

21. Chand raat tum ho saath by Kishore Kumar and Lata Mangeshkar from Half Ticket (1962), lyrics Shailendra, music Salil Chowdhury

A pas de deux. Kishore Kumar is up to his usual tantrums and yodelling. Nothing outstanding about the music except for Madhubala’s lively performance despite under threat of death.

Deteriorating health confined her to bed and she spent her time in her parent’s house surrounded by her family members. She kept a diary from her early days. A great actress with an ethereal beauty was reduced to skin and bones. She passed away on 23rd February 1969, nine days after her date of birth and just crossing 36 years. She lived for nine more years after doctors gave her just a year in 1960. She was buried at Santa Cruz campo santo with her diary at the insistence of her father. Her tomb was carved in marble and writings from Koran were also inscribed. It is a matter of regret that it was demolished in 2010 to make way for more space for further burial.

Madhubala is forever enshrined in the memory of her admirers as a fairy in all her loveliness. Si ipsi consentire vettent. God in his wisdom had perhaps decreed she should not live long so that she is remembered for eternity in the full glory of her loveliness by her admirers. As usual tributes flowed in profusion.

Hindustan Times published an article on her 85th birth anniversary on 14 February 2018. Please read it in full by clicking the link posted below.

https://www.hindustantimes.com/bollywood/happy-birthday-madhubala-beyond-her-arresting-beauty-a-look-at-her-life-s-tragedies/story-LFF77gysIELbj7GNLrVBiK.html

New York Times published an obituary on her on the International Woman’s day – 8th March. Of the 15 women they portrayed, the only Indian to figure is Madhubala. I am posting the link below’

http://www.indiawest.com/news/global_indian/new-york-times-publishes-obituary-of-iconic-indian-actress-madhubala/article_c412ef60-23e9-11e8-aabb-9bc22507ebb4.html

New Delhi centre of Madame Tussaud’s unveiled a statute of Madhubala on the 10th August 2017, taking inspiration from her role of danseuse Anarkali in Mughal-e-Azam. The function was attended by her younger sister Madhur Bhushan. Originally scheduled for London centre of Tussad’s, it was shifted to her place of birth.

Here is another excerpt from Hindustan Times.

So striking was her beauty that the famous film journalist BK Karanjia had declared that ‘none of her published photographs did full justice to her quite extraordinary beauty’. Her co-stars would often talk of her admiringly. Dev Anand was once quoted as saying “statuesque is the word I would use for her”. Baburao Patel, editor and publisher of FilmIndia, both feared and respected by the film industry, had dubbed her the ‘Venus of the Indian Screen’. (Hindustan Times, February 14, 2018)

Her memory is still kept alive after 1969. She is featured in many articles and three biographies. India Post issued a commemorative stamp in 2008. If one were to associate an actor/actress with great/delectable songs, I will rank Madhubala in the first place. I know I have not done full justice to her in this post. I expect the blog followers to cover my deficiencies.

Acknowledgement and Disclaimer: This song links have been embedded from the YouTube only for the listening pleasure of the music lovers. This blog acknowledges that the copyright over theses songs vests with respective owners such as Saregama India Limited and others.