Madhubala (Mumtaz Jehan Begum Dehlavi; 14 February 1933 – 23 February 1969). An Indian Actress.
Generally called Madhu, was an Indian film performing gifted laborer who fused into magnificent motion pictures of Bollywood.
Renowned as The Beauty with Tragedy and The Venus of Indian Cinema. Also, she was known as Marilyn Monroe of Bollywood. And was additionally called Goddess of Indian Cinema.
She was dynamic between 1942-1964. Madhubala made her screen show up in a minor employment at 9 years of age with the film Basant (1942). Also, she made her introduction with Raj Kapoor at 14 years of age with the film Neel Kamal (1947).
In 1951, she got the excitement of Hollywood when master picture taker James Burke visited India and caught her for Life Magazine.
In their part of her, Life, called “the best star” in the international film industry. She was shot broadly for this part by James Burke.
Her birth took place on February 14, 1933 as Mumtaz Jehan Begum Dehlavi to Ataullah Khan and Aayesha Begum.
Her father, Attaullah Khan was a Pashtun from the old Peshawar valley, which is now in Pakistan.
Madhubala’s first film Basant (1942) was a film industry accomplishment. Basant transformed into the most shocking netting Indian film.
A 9 year old Madhubala routinely tottered around various studios of Bombay in the search of work.
In the mid-1950s, as Madhubala twisted up a champion among the most searched performing craftsmen in India. She pulled in energy from Hollywood.
In 1951, Madhubala got the excitement of Hollywood when master picture taker James Burke visited India and caught her for the Life magazine.
She was caught extensively for this segment by picture taker James Burke. She showed up in the American magazine in its August 1952 issue.
Madhubala acted in seventy motion pictures from 1947 to 1964. Only fifteen were film industry triumphs. Various senior on-screen characters praised Madhubala’s acting aptitudes.
She was even differentiated the Hollywood on-screen character Marilyn Monroe. She was moreover called “Marilyn Monroe of Bollywood“.
Marriage to Kishore Kumar
In 1960 (at 27 years), Madhubala hitched her Chalti Ka Naam Gaadi co-star Kishore. Kishore Kumar proposed to her when Madhubala was fighting with the natural coronary disease. She marries him resulting to the understanding that Dilip Kumar was not going to marry her.
Kishore Kumar’s family never recognized her in their family considering the way that Kishore Kumar married Madhubala. The couple had a Hindu support of fulfill Kumar’s family. Madhubala was never extremely recognized as his significant other.
Kishore Kumar changed over himself into Islam and changed his legal name to “Karim Abdul” to marry her.
In a gathering given to Filmfare, he admits that neither he nor Madhubala anytime changed their religion to marry each other.
They went to London not long after their marriage for their extraordinary first night. Kishore Kumar bought a house for her in Carter’s Road, Bandra. He deserted her there with a specialist and a driver. He would visit Madhubala once in two. Regardless, he never misused her.
Ailment and death
In 1966, she made a valiant undertaking to complete her work in Chalak opposite Raj Kapoor. This assignment required only a short spell of shooting. Yet, she couldn’t persevere through that strain. Madhubala had ventricular septal disfigurement (an opening in her heart) which was recognized while she was shooting for Bahut Din Huwe in Madras in 1954.
(By 1960) Because of her sickness, her sister cleared that her body would make extra blood. Blood was spilled out from the nose and mouth. So, she moreover experienced pneumonic weight of the lungs. Every four to five hours she should be given oxygen.
In 1969, she was set to make her directorial big appearance with the movie Farz aur Ishq. The film was never made. She died on 23 February 1969. Madhubala was covered at Juhu Muslim Cemetery in Santacruz, Mumbai.
Her tomb was worked with marbles and incriptions incorporate aayats from Quran and refrain commitments.
And the tomb was demolished in 2010 close by those of Mohammed Rafi, Parveen Babi, Talat Mahmood, Naushad Ali and Sahir Ludhianvi to clear a way for additional avant-garde graves.