Madhubala

Born in a poor medium, fifth child of a family which counted eleven of them, the dream of Madhubala little girl was already to become a film star.

One day, a monk predicted with his parents that it would have glory and fortune, but alas, an unhappy life and an early death. It was only nine years old when his/her father with unemployment took it along to Bombay in order to begin his career from actress.

She started to turn under the name of Mumtaz baby in film Basing (1942). Devika Rani, impressed, changed the first name of Mumtaz baby into Madhubala, which was to appear in Jwar Bhata, film in which Dilip KUMAR held the first role. She was unable to play but it was the first time that its eyes of child were posed on the actor.

Madhubala and its father had to fight without slackening so that it reaches the celebrity. It is at the sixteen years age that its popularity started to become extensive. Very professional, Madhubala was always specific, arriving at the studios at seven hours and leaving them at six hours. She was also fascinated by Hollywood, she nourished herself some by pleasure and to enrich her play by actress. She had even an English professor.

Kidar Sharma offered to him a role at Raj Kapoor in Neel Kamal (1947), but it is the film Mahal (1949) studios Bombay Talkies which promulgated it with the row of star. A series of films was followed from there where it divided the poster with the most prestigious actors of the moment such as Ashok KUMAR, Rehman, Dilip KUMAR and Dev. Anand.

But in the Fifties, some of its films carried out by largest, such Amar de Mehboob Khan, were not discounted success. Madhubala, however one of the actresses more glamors of the country, was then regarded as a “poison” for the box office. The young woman was all the more affected as its loves were then opposed.

Madhubala and the actor Dilip KUMAR, madly enthusiast one of the other, transfers their hopes to disappear when the father of the actress opposed their union. It could not hold head to him, they had to be satisfied to still be able to turn together, but only in certain conditions which were established by contract in a room of court. It thus had to be withdrawn after turning of Naya Naur (1957) and following this painful lawsuit.

Madhubala was resigned then to a marriage without love with Kishor KUMAR. The cardiac problems of Madhubala were detected very early, in 1950, it had just twenty and one years. Vis-a-vis this dubious future, its disease was hidden with the studios lasting of the years. It was one of the mostdeveloped actresses, because its beauty was enough to collect all the attention of a film to the detriment of its performances. The realizers hesitated to give him roles to its measurement. It was however brilliant in its comic roles, it showed also a great dramatic intensity in the Amar film (1954) and in unforgettable Mughal-e-Azam (1960), undoubtedly its best performance in the role of the Anarkali courtesan.

She crossed one more serene period when she turned in particular in Passport (1961), Half Ticket (1962) and Sharabi (1964), but it was for the majority only minor films which became popular later, as Jwala which met success two years after its death, in 1971!

She wanted to still turn, she was to find Raj Kapoor in Chalak (1964), but she crumbled at the time of the very first days of turning and the film remained unfinished. She had only thirty-six years.

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