Vinod Mehra (13 February, 1945 to 30 October, 1990)

Vinod Mehra born on 13th February 1945, at Lahore Pakistan, was an Indian actor, producer and director.

Vinod Mehra started his acting career as a child artist in the 50s and 60s. Mehra made his debut as a child artist in the 1958 film Raagni, playing the younger version of the character played by Kishore Kumar+. After playing a few more minor roles as a child, he started his film career as an adult in 1971 with ''Ek Thi Rita'', a smash hit based on the English play, 'A Girl Called Rita', along with Tanuja. He was one of finalists in the 1965 All India Talent Contest organised by United Producers and Filmfare from more than ten thousand contestants. He lost the contest to Rajesh Khanna and became male runner up of the contest. He made his debut as a leading hero in the hit film- Ek Thi Reeta  with Tanuja in the year 1975. He has acted in more than 100 films playing roles of hero, brother, father, friend, and lover. He was a fairly successful hero at the box office. He teamed up with leading stars such as Amitabh bachchan, Dharmendra and other super stars in many films and was known as a gentleman actor.

His first film as an adult was Ek Thi Rita (1971) which was a hit. This was followed by the film ''Parday Ke Peechhay'' opposite debutant Yogeeta Bali followed by ''Elaan+'' (with Rekha), ''Amar Prem'' (1972) and ''Lal Patthar'', though it was only Shakti Samanta's ''Anuraag'' (1972) with Maushmi Chatterjee, which established him as an actor. He went on to appear in over 100 films in his career spanning over two decades. He played the lead role in some of his earlier films but often acted in many multi-starrers as the secondary lead or played supporting roles such as a brother, friend, uncle, father and police officer. He worked with many actors like Amitabh Bachchan, Sanjeev Kumar, Rajesh Khanna, Sunil Dutt and Dharmendra. His frequent female co-stars included Rekha, Maushmi Chatterjee, Yogeeta Bali, Shabana Azmi and Bindiya Goswami.

Some of his prominent films were ''Nagin'', ''Jaani Dushman'', ''Ghar'', ''Swarg Narak'', ''Kartavya'', ''Saajan Bina Suhagan'', ''Jurmana'', ''Ek Hi Raasta'', ''Ye Kaisa Insaaf'' ''Sweekar Kiya Maine'' and ''Khud-Daar''. He received Filmfare Nominations as Best Supporting Actor for ''Anurodh'' (1977), ''Amar Deep'' (1979), and ''Bemisal'' (1982). He also played the leading role in a Punjabi film ''Maujaan Dubai Diyaan'' in 1985.

He turned producer and director with the film ''Gurudev'' in the late 1980s, with Sridevi, Rishi Kapoor and Anil Kapoor in the lead but the film was incomplete at the time of his death. Many of his delayed films were released after his death and dedicated to his memory such as ''Patthar Ke Phool+'' (1991 film), ''Insaniyat+'' (1994) and ''Aurat Aurat Aurat'' (1996). It was completed by director Raj Sippy and released 3 years after his death. Many of his delayed films were released after his death and dedicated to his memory such as Patthar Ke Phool (1991 film), Insaniyat (1994) and Aurat Aurat Aurat (1996).

Vinod Mehra was married to Meena Broca but the marriage broke and he later tied the knot with Bindiya Goswami. However this marriage too hit the rock and once more he was divorced. He took the plunge once more when cupid struck and he married Kiran who remained his legal wife till the time of his death. There were also speculations that he was married to the stunning diva Rekha.

He acted in some hits like- Lal Patthar, Amar Prem, Ghar, Kunwara Baap, Sabse Bada Rupaiya, Anurodh, Pyar Ki Jeet, Arjun Pandit, Ginny Aur Johnny, Zindagi, Insaniyat, and many other films. Vinod Mehra was a man of great poise and charm. A inherently introvert, he was known to be a man of few words. However his charm and acting acumen was truly appreciated.He died of a massive heart attack at the young age of 45, on 30th October, 1990 at Mumbai.

Guru Dutt (9 July, 1925 to 10 October, 1964)

He was born as Vasanth Kumar Shivashankar Padukone in Bangalore on July 9, 1925. His birth name was Vasanth Kumar Shivsankar Padukone. Guru Dutt did his schooling at Kolkata, where his father was an administrative clerk in Burmah Shell Company. Due to financial restraints, instead of going to college, Guru Dutt had joined the performing arts troupe of Uday Shankar who is elder brother of renowned Sitar Maestro Ravi Shankar. Guru Dutt joined the Uday Shankar India Culture Centre at Almora, Uttaranchal on a five year scholarship of Rs. 75 annually. After completing his studies at Almora Dutt moved to Mumbai where his uncle arranged a job under three year contract with Prabhat Film Company in Pune. Guru Dutt met two great actors Rehman and Dev Anand in Prabhat Film Company and they developed good friendship.

Guru Dutt made his debut in films with a small role as Sri Krishna in the film "Chand". Then he acted as well as assisted director Vishram Bedekar in the movie "Lakhrani". Prabhat Film Company collapsed in 1947 and Guru Dutt moved to Mumbai. In Mumbai Guru Dutt worked with two leading directors of that time- Amiya Chakravarthy and Gyan Mukherjee. Thereafter Dev Anand offered him a job as director in his new production company, Navketan. As director at Navketan his first film was "Baazi". Guru Dutt used close-up shots with 100mm lens camera in the film "Baazi", which later became famous as 'Guru Dutt Shots' in the Indian cinema. The film "Baazi" was an immediate success. Guru Dutt gave many super hit films as director as well as actor. Some of them were "Aar Paar", "Mr. & Mrs. 55", "Pyasa", "C I D", "Sailab", "Sahib Bibi Aur Ghulam" and "Chaudhvin Ka Chand'. Guru Dutt took his last breath on 10th October, 1964, in his rented apartment at Pedder Road in Mumbai.He had his early education in Calcutta and later on had gone under basic training with dance maestro Uday Shankar for 5 years after which he joined Prabhat Studios in Pune. Before becoming a part of Indian Cinema, Guru Dutt had short stints with careers in choreography, telephone operator position and English writer.

It was here that he got a break as a choreographer with the film Hum Ek Hain (1946), the launch pad of friend and actor Dev Anand. There he worked as an assistant direct till he was given a break as director under Dev Anand's banner Navketan. At the age of 26 years he made his directorial debut film 'Baazi', which was a blockbuster movie. Soon after his successful debut all his directed films started becoming super hits. Film 'Jaal' in 1952, 'Baazi' in 1953, 'Aar-Paar' in 1954, 'Mr & Mrs 55' in 1955 were blockbusters in a row. After so many super hits people started considering him as a Midas director. He is credited with introducing Zohra Sehgal, Johny Walker and Wahida Rehman to the Indian cinema.

During this time Guru Dutt fell in love with singer Geeta Roy, with whom he met during the song recording of a song for film 'Baazi'. The two married in May 1953.

Guru Dutt and Geeta Dutt formed a perfect team. He knew exactly how to use her voice and he used it in ways, so that her inane generosity of spirit spilled over on the soundtrack in stunning romantic declarations. 'Hoon abhi main jawan', 'Jaa jaa jaa bewafa', 'Babu ji dheere chalna' and 'Yeh lo main haari piya' in Aar Paar (1954) were like prolonged outburst of harmonious sensations. Guru Dutt and Geeta Dutt were supremely talented and both were touching new heights of success with every release. Guru Dutt received great recognition in the countries of France, Japan and Germany, where his films are re-released to full houses.

Having so much success in career and love in personal life, Guru Dutt started his own production company in 1956. For his first film as a producer 'CID' he signed his friend Dev Anand. And also launched a new heroine Waheeda Rehman. 'CID' released and became successful. Its success changed his personal life too, as during its shooting Guru Dutt and Waheeda became close friends. Media highlighted their friendship more then film's success. Soon after 'CID' Guru Dutt signed Waheeda Rehman again for his another film ‘Pyaasa’. Rumors of his affairs with his new leading lady started surfacing, which left Geeta Dutt in shock. In 1957 ‘Pyaasa’ got released and it is said that at this point she got involved in an unsuccessful love affair with the tragedy king Guru Dutt. Finally situations between Guru Dutt and his wife worsened. Unfortunately, his married life was not happy and she finally left him. According to his brother Atmaram, Guru Dutt was "a strict disciplinarian as far as work was concerned, but totally undisciplined in his personal life". He smoked heavily, he drank heavily, and he kept odd hours. Guru Dutt's relationship with actress Waheeda Rehman also worked against their marriage. At the time of his death, he had separated from Geeta and was living alone.

This was the time when Guru Dutt’s fall started. Both his personal life and career was going through a bad phase. He was continuously been criticised for the type of films he was making. Not only this, slowly slowly Waheeda Rehman also distanced herself form Guru Dutt and their famous relationship started waning and ended. In his later films, whether its ‘Pyaasa’ or ‘Kaagaz ke Phool’, we can see the intensity and seriousness, which can be said was the result of his bitter experiences in personal life.

‘Pyaasa’ is said to be the master piece of Guru Dutt. It was the film which made him the real ‘GURU’ of the film industry. Not only in India but in France also ‘Pyaasa’ was the super hit.

After Pyaasa’s success Guru Dutt’s next was ‘Kaagaz ke Phool’, which was India’s first cinemascope film too. But this film failed at box office and critics rejected it saying pessimistic and self-indulgent movie. A dejected Guru Dutt never directed a film thereafter. Technically the film is perhaps his best. But he continued to produce films and act in both home and outside productions. ‘Sahib Bibi Aur Ghulam’ (1962), a box office flop, is still regarded as one of Guru Dutt's most and artistic films.He also has his influence on his last box office success ‘Chaudhvin Ka Chand’. In 1964 he acted in his last film ‘Saanjh Aur Savera’ opposite Meena Kumari.

Guru Dutt also brought in some major technical revolutions in the grammar of the mainstream Hindi filmmaking, like, integrating film's songs into story and make story move forward through song itself. He used the effect of light and shade to create poetry and romance. His legacy is unmistakable and accepted by many leading directors of the day.

People remember Guru Dutt for the perfectionist and disciplinarian he was professionally. Unfortunately, his personal life was a total opposite of his professional life. He smoked heavily, he drank heavily, and he kept odd hours, which finally took its toll on his relationships and life itself.

Guru Dutt and their understanding of the cinematic artist of course were great, but in our country at an early age the young man's tragic death was the cause of his fame, not his unbeatable talent.

Just a day before he passed away and he seemed fit and fine. Regular shooting of his Baharein Phir Bhi Aayegi was on. Flustered by the sudden cancellation by one of the lead cast, Guru Dutt changed plans for next day. We went shopping in his car to Colaba and he bought garments for me and for his two sons Tarun and Arun. he reached his flat at Pedder Road around 6.30 pm where he resided minus his family. It was his ardent wish that his children should be with him every weekend. Adamant, Guru Dutt then had a long telephonic chat with singer-wife Geeta, but she refused to send the kids, as it was late at night. Which disheartened him. That's when dialogue-writer Abrar Alvi joined him for a creative brainstorming over booze and he asked his brother Devi, who was with him to leave them alone. It was next day on October 10, 1964 he died at a young age of 39 due to overdose of sleeping pills and alcohol – a deadly mix and committed suicide, though doubts still linger as if his death was accidental. Unfortunately, his wife Geeta Dutt herself died aged 41, due to excessive drinking which resulted in her liver damage. The last person to speak to Guru Dutt was Asha Bhonsle, who he had called up asking about his wife.

Filmography

Guru Dutt was one of the best filmmakers of Indian cinema, and is often remembered as a man born ahead of his time. He made his debut from the movie 'Chand'. 'Kaagaz Ke Phool', a film rejected by Indian audience has now been included among 160 greatest films of all time. Pyaasa is the other film listed by Time magazine’s “All-TIME” 100 best movies and the Sight &Sound Critics and Directors Pol. These two films have a cult following among contemporary cinema goers.Guru Dutt left many unfinished projects with his death. He would scrap a movie and re-plan it all over again whenever he was not satisfied with the way it was moving ahead. Baharein Phir Bhi Aayenghi, Picnic and Love and God were few among them.


Aar Paar (1954) was one of Dutt's commercial ventures, themed as a noir-comedy, about a street-smart cab driver romancing two women. A whole tramp-with-a-golden-heart concept was a hit with the audience and made the movie a very important one in Dutt's career. Pyaasa (1957)is rated as one of the best romantic tragedies of all times. None of the film pundits could predict the success of Pyaasa, which is ranked among the best films of Indian Cinema. The original casts decided by Guru Dutt were Dilip Kumar, Nargis and Madhubala in the lead roles, but these stars were not sure about the abilities of Guru Dutt and hence backed off. Finally he cast himself in the lead role, while Waheeda Rehman and Mala Sinha played the lady leads in the film. After opening to poor collection, the film gained popularity and momentum in the 8th week. This is the movie that gave the audience goose bumps with the song Ye Duniya Agar Mil Bhi Jaaye To Kya, where a bearded, beaten-down Dutt arrives at his own memorial service and denounces the world. This movie is rated as one of the best romantic tragedies of all times in India. Kaagaz Ke Phool (1959) was a box office disaster when it released in 1959. This movie was a box office disaster when it released in 1959. It was only in the 80s that it got its due credit and got labelled a cult classic. Also, this film has a bit of an eerie resemblance to Dutt's real life; famous filmmaker, affair with an actor, driven to alcoholism, and then the tragic death. But we like to remember it for its heartbreaking story.

Chaudhvin Ka Chand (1960) was a highly commercially successful film. A love triangle among two best friends and a pretty woman; a story line done to death. But Dutt pulled it off with a brilliance like none other, making Chaudhvin Ka Chand a commercially successful film in his career. Sahib Biwi Aur Ghulam (1962) was an adaptation of Bimal Mitra's Bengali novel Shaheb Bibi Golam. Based on Bimal Mitra's Bengali novel Shaheb Bibi Golam, it is the story of a feudal lord, his lonely wife, and their lower-class servant. The movie swivels beautifully around the relationship between the three, ending on a happy note

His other achievement include Picnic, Sanjh Aur Savera, Suhagan, Bahurani, Bharosa, Sahib Bibi Aur Ghulam, Sautela Bhai, Chaudhvin Ka Chand, Kaagaz Ke Phool, Pyaasa, Mr. & Mrs. '55, Aar Paar, Suhagan, Baaz, Hum Ek Hain and Baazi. He was awarded 'Filmfare Best Film Award' for "Sahib Bibi Aur Ghulam".

Guru Dutt, an unparalleled genius showman Indian Cinema has ever come across, was an enigma in his life and death. He showed exceptional movie making skills which combined, lyrical, artistic and conventional values in such a way that his movies touched both the masses and the critics in the same way at the same time. Guru Dutt is among the top 25 Asian Actors of all time rated by CNN. He also is included among the greatest film directors of all time by Sight & Sound. Many refer to him as Orson Welles of Indian Cinema. His characters were intense, brooding and desperate romantics and also socially conscious who wanted to see a change in the society. Unfortunately, this talented showman did not live his life to the full term, depriving Indian Cinema more of his commendable movies.

Smita Patil (17 October, 1955 to 13 December, 1986)

One of the finest theater and film actresses to have graced the Indian artistic scene; Smita Patil was the epitome of beauty and talent. Winner of two National Awards and recipient of Padma Shri, this Bollywood star had a promising career ahead of her. She was actively involved in causes for upliftment of women and her choice of films to act in also advocated the same to a large extent. However, at the age of 31 on 13th December 1986 her life was cut short due to childbirth complications and we lost this star forever.

Smita Patil was one of the most talented actresses representing parallel Indian cinema. Some of her best films include Manthan, Bhumika and Mirch Masala. However, Smita Patil saw a tragic death right after the birth of her son, now actor, Prateik Babbar. The Bollywood actress died in 1986, at a young age of 31.

Smita Patil was one of the brightest female stars of the late 1970s and early 1980s would be a gross understatement. She was the consummate new cinema actor who could play the complex role of an actress physically and mentally abused by her husband in Bhumika (1977) or be an unapologetic part of popular films such as Namak Halaal (1982) where she’d be a natural at prancing around in the rain singing "Aaj Rapat Jaaye" with the Amitabh Bachchan with equal ease. In fact, amongst the handful of Indian actors who could find themselves at home in any decade and any kind of cinema with just about any filmmaker, Patil’s name would be one of the first to pop up and had death not robbed us of one of our greatest actors, Patil, today, at sixty, would have only become greater still.

In a career spanning only 12 years, Smita Patil touched glories that take a lifetime to achieve.

Great is an honorific that is far too readily, and even easily, attached to anything that is halfway decent. It’s a testimony of the times that we exist in where a couple of hits or a string of medial performances are enough to warrant greatness. But in Smita Patil’s case it’s a claim that has not only been rightfully bestowed but also in one of those rare instances, felicitously bequeathed. For an actor who has been dead for almost three decades now, which incidentally is also half of what her age would have been had she been alive, Patil left such an impression on the hearts and minds of the audience that very few actors both living or dead have managed to replicate.

In a career spanning a little more than a decade, Patil worked in over 80 films, won two National Awards, one of them for Bhumika at the age of 21, making her one of the youngest recipients; a Filmfare (Chakra (1981), which also fetched her a second National Award) and was directed by filmmakers as varied as Shyam Benegal, Govind Nahilani, Satyajit Ray, Mrinal Sen, Ramesh Sippy, BR Chopra and Raj Khosla. Her performance in Mirch Masala (1987) continues to remain a master class in acting and it’s hardly surprising that it was voted as one of the 25 Greatest Acting Performances of Indian Cinema in the centenary year of Indian cinema.

Patil’s acting and her real life commitment to myriad social issues such as women’s rights, she was a member of the Women's Centre in Mumbai, often amalgamated and perhaps this was the reason why her commitment to both reel as well real was unfeigned.

An alumna of the Film and Television Institute, Pune, Smita Patil belonged to the golden generation of trained actors who were a part of the birth of India’s parallel cinema movement. Like the other great actress of her generation Shabana Azmi, Patil, too, went beyond the new wave when she forayed into the world of popular cinema but unlike Azmi she took a while in committing to commercial cinema. Azmi struck a fine balance between the two worlds, but Patil initially was far more dedicated to smaller cinema.
Once Patil went commercial with Shakti (1982), a film she accepted largely for the opportunity to work with Dilip Kumar, Amitabh Bachchan and Rakhee, there was no looking back and with just a few films she created a special place for herself in the eyes of the trade as well as fans. Although she enjoyed doing commercial films for the big money that it offered, she knew this wasn’t a setup that made her feel at home. She found the unnatural mode of making them an insult to the individual inside but she never made a tamasha about doing such cinema in spite of her reservations nor did she ever denigrate the people who were a part of it.

Perhaps Smita Patil was cut from the same fabric as Waheeda Rehman, the other great from a couple of generations before her, who, like Patil, was relegated to be second to Nargis or Meena Kumari even though her body of work far outdid most. Many a times cinema witnesses artists come in pairs like Satyajit Ray and Mrinal Sen, Naseeruddin Shah and Om Puri, Shabana Azmi and Smita Patil that inspire and push each other but often one of them is preordained to remain in the other’s shadow. Patil’s untimely death may have added an extra veneer of greatness to the actress when compared to Azmi, who often ended up walking off with more critical acclaim in the films the two worked together.

Patil was more adept at handling popular film outings and between the two she was the first port of call for commercial filmmakers when it came to playing layered characters. She could play the elderly love interest to men who were drawn to Lolita esque teens in Anokha Rishta (1986), she could play the silent pillar of support to her former husband whose daughter was fighting cancer in Dard Ka Rishta (1982), she could play the concerned sister of an alcoholic lawyer in Thikana (1987), a princess who wanted to break away the cast barrier in Ghulami (1985), she could play the hardened mother who wouldn’t rest till her son avenged his father’s murder in Kasam Paida Karne Waale Ki (1984), a woman whose husband abandons her for her younger sister in Akhir Kyon? (1985), and in one of her final films, Waaris (1988) she played Paro, a widow, who gets her elderly father-in-law remarried for an heir to save the ancestral land.

There are two types of rebels. One variety makes a huge ruckus about the manner in which they change the order of things, while the other kind is the silent ones whose actions end up making the loudest of sounds. Smita Patil belonged to the latter and in her roles millions of women found an icon mirroring their own trials, joys and struggles and a search for an identity.

Smita Patil died due to complications following childbirth on December 13, 1986, at the age of 31. Patil’s premature death might have made her untouchable but at the same time also subtly changed the trajectory of Azmi’s career by pushing her to a venerable position as an actor before time thereby depriving her of challenges. Patil got enough accolades for her role in Arth (1982) and she believed that hers was a far more nuanced character to play than Azmi’s but wasn’t too satisfied with the way the roles were tinkered around midway. In just a decade in cinema she showed streaks of brilliance and in that short period did roles that sometimes take a lifetime to come along. Her characters garnered praise and attention and not the reverential kind that often take away the freedom from actors to push themselves further.

Madhubala (14 February, 1933 to 23 February, 1969)

One of the most beautiful actresses of her times, the iconic actress had a successful career spanning two decades, boasting of some hit Hindi films. Apparently, Madhubala was born with a ventricular septal defect, commonly known as ‘hole in the heart’.

The actress with the million dollar smile ruled the hearts of millions in the formative years of Indian Cinema. Likened to Marilyn Monroe; Madhubala is the vintage beauty of Indian Film Industry. The Anarkali of Indian Cinema was born with a complex heart condition, which was difficult to be treated in those days. This Bollywood star eventually succumbed to her illness at the age of 36 in the year 1969 leaving a void in the Indian Celluloid Industry forever.

Madhubala was born Mumtaz Jahan Nehlavi on Valentine’s Day, February 14, 1933. Perhaps was no coincidence with such a birthday that Madhubala would grow up to become one of the most beloved romantic heroines of India. But her life could not share the happy endings of many of her films. Her premature death has likened Madhubala to iconic Hollywood greats like Marilyn Monroe, Judy Garland, Carol Lombard and even Bollywood’s own Meena Kumari–women of the silver screen who died before the world was ready. Madhubala was born on 14th February 1933 which was a Valentines Day to a Pathan family. It is a great coincidence that such a luminous beauty was born on Valentines Day.

Madhubala’s unique allure was known worldwide–she had been featured in many American magazines including LIFE magazine whose rare photographs are featured in this post. Legendary director Frank Capra was eager to bring the mysterious Indian beauty to Hollywood and launch an international career–but his efforts were halted quickly by Madhubala’s conservative father. She was sought after by every great Bollywood director and actor from Dilip Kumar to Dev Anand and even romanced and married playback singer Kishore Kumar at the height of her illustrious career. For years, Madhubala was the Queen of Bollywood and the hearts of millions.

Early life:     

It seems that those women who are born on Valentines Day and who are also very beautiful are bound to have lots of love affairs during their lifetime. Madhubalas father Attaulla Khan, an orthodox Pathan was very possessive of Madhubala. She was under his clutches all her life. Madhubalas real name was Mumtaz Jahan Begum nicknamed as Majhlee Appa. She was born in abject poverty and was 5th child of 11 children. Mumtaz was everyones favorite in her family. Because whenever she smiled, she looked like a blossoming flower. A najoomi (foreteller) who was also known as Kashmirwalle Baba, had predicted that Mumtaz will have an astonishing future. Najoomi said Badi hokar ye ladki bahot naam kamayegi, Bahot paisa aur shohorat paayegi, lekin (meaning this girl will earn prestige, money and fame but) as he paused and added that this girl will lead a very unhappy life with broken love affairs, loveless marriage and will die at an early age. All his predictions turned out to be true.

Ataullah Khan, the father of Madhubala was working in the Imperial Tobacco Company in Peshawar, Pakistan, when he lost his job and decided to come to Mumbai. Madhubala was seven at that time. Her real name was Mumtaz Begum. She was called Mazliappa, as she was the fifth child. Her father started looking for a job. He also took Madhubala to film studios. She got work in Basant (1942) at the age of nine. The leading lady’s name was Mumtaz Shanti, so Madhubala was called Baby Mumtaz, when she was a child actress.

    She got her first break in Kirdar Sharma’s Neel Kamal. Kirdar’s wife was supposed to play the lead role but she passed away. As Madhubala knew the dialogues, she became a heroine at the age of 13. From this film onwards, she was credited as Madhubala. The film did not do well, but her work was appreciated.Madhubala shot to fame in 1949 with Mahal. She was 16. At that time, no one realised that she was sick, not even my father. Madhubala was a healthy child, and very bubbly.

Her illness:

It was Madhubalas tragedy that she was diagnosed with a hole in her heart during her early childhood. Her father hid this fact from film producers. However, her heart ailment got aggravated in early 1960s and Madhubala had to abandon her film career prematurely. She even went to England for treatment. But doctors in England could not perform the surgery as her ailment was in advanced stage and she had to return back to India without any treatment. Todays medical technology could have saved her life. But back then, open heart surgery was not invented. And hence there was no cure for her illness. She was doomed to die. She was hardly 28 years old when she almost stopped acting in films due to her illness. Of course, later there was a loveless marriage with Kishore Kumar which lingered for few years until her death in 1969.

Madhubala first vomited blood when she was in Chennai shooting for S S Vassan’s Bahut Din Huwe (1954). She was treated, and she resumed shooting. Nobody thought she was sick until she fainted on J K Nanda’s sets while shooting with Raj Kapoor on Chalack (1957). The film never got completed. That’s when the doctor said that she had a hole in her heart. She was 24 then.

She was advised bed rest for three months, but after a month of rest, Madhubala resumed work. Looking at her, one would not say that she was sick. She, herself, was not ready to believe that she was sick. Her last film was Mughal-E-Azam, which released in 1960. People think that she worked after that too, but that’s not true. She had completed all her films in the 10 years that it took for Mughal-E-Azam to be made. Some movies released after she was bedridden but she was in no condition to work after Mughal-E-Azam. In fact, in some of the scenes, you will notice that she looks pale and sick.

Romance with Dilip Kumar:

The reason Madhubala broke up with Dilip Kumar was B R Chopra’s film Naya Daur. Madhubala had shot a part of the film when the makers decided to go for an outdoor shoot to Gwalior. The place was known for dacoits, so my father asked them to change the location. They disagreed because they wanted a hilly terrain. So my father asked her to quit the film. He was ready to pay the deficit.  Chopra asked Dilip Kumar for help. Dilip Kumar and Madhubala were engaged then. Dilip Kumar tried to mediate but Madhubala refused to disobey her father.

Chopra’s production filed a case against her, which went on for a year. But this did not spoil their relationship. Dilip Kumar told her to forget movies and get married to him. She said she would marry him, provided he apologised to her father. He refused, so Madhubala left him. That one ‘sorry’ could have changed her life. She loved Dilipsaab till the day she died.

Marriage with Kishore Kumar:

When Madhubala fell sick and was planning to go to London for treatment, Kishore Kumar proposed marriage. My father wanted her to wait and get a clean chit from the London doctors first. But Madhubala married Kishore Kumar out of stubbornness, and anger towards Dilip Kumar. They got married in 1960. She was 27 years old.

    Once the doctor gave his verdict — that she would not live for long — Kishorebhai brought her a house in Mumbai’s Carter Road and dumped her there alone, with a nurse and a driver. He would come once in about four months to see her. He did not take her phone calls. Kishorebhai was madly in love with Madhubala but once she returned from London, he dumped her.

    Madhubala was very depressed because no one came to meet her. Once upon a time, she was hot property in the industry. But when she was bedridden and dying, not a single person met her. Also, she could no longer dress up. She was in night gowns most of the time. She died at the age of 36.

ALLEGED LOVE AFFAIRS OF ACTRESS MADHUBALA

It is very tragic that Madhubala never found true love during her lifetime. Partly it was due to her fathers obsession of not allowing her to mingle with anybody. He kept a constant vigil on her movements day in and day out. He followed her right from his home to studios and back. During her lifetime, Madhubala used to keep a diary on daily basis where she used to keep accurate account of daily events of her life. This diary also had full account of her romantic involvements with different film personalities of that time. We can visualize her that lonely women, her long curly hair, framing her heartbreakingly beautiful face, bent over her diary. This diary could have unfolded many of Madhubalas secrets, especially about her love life. But unfortunately her father decided to bury her diary along with her in her grave. And now we will never know her inner thoughts. But this simple burial of diary cannot vanquish the imprint of a legend from cine-goers mind. Since Madhubala died at tender age of 36, we never saw her grow old. In our minds, she will always remain as sylph-like figure with sudden mischievous flash of smile, the girlish gurgle. Madhubala is considered to be the most beautiful Actress of Bollywood.

At times she could be compared the then Hollywood mega stars like Marilyn Monroe and Brigitte Bardot in terms of sexy looks and beauty. In the recent film era, only Madhuri Dixit can come close to Madhubalas alluring beauty and smile.
Madhubala did have some romantic moments with few great film personalities and famous persons which are listed below in chronological order until Madhubalas love affair ended. Note that in order to express her love towards a person, she always used to offer a red rose to that person and a written text message indicating her love.

Childhood - Latif:

Latif was her childhood sweetheart. Latif lived in Delhi. When Madhubala moved from Delhi to Mumbai, he was terribly depressed. Before leaving for Mumbai, Madhubala gave Latif a red rose: an indication of her Love. He had kept this rose till she died and placed on her grave 30 years later. He came all the way to Mumbai from Delhi for her farewell. Now a retired IAS officer, he still goes to her grave on 23rd February and places a red rose on it.

Director Kidar Sharma:

Kidar Sharma gave Madhubala her first break in his film. When he saw her for the first time for screen test, he had fallen in love with her. It was a love at first sight. But Madhubalas mind was very fickle. And she was too young at that time to understand about love. She figured that if she waits somewhat longer she may find a better person. So she never reciprocated her love to Kidar Sharma, although she respected him as a great director and story ended right there.

Director Kamal Amrohi: As mentioned earlier, film Mahal directed by Kamal Amrohi was a superhit at box office. The magic formula worked because the director and heroine were in deep love with each other. Amrohi would spend hours fussing around over her dupatta so as to give her a covered, virginal image, his favorite, even as she looked at her lovingly, occasionally giggling at his laborious attention to little things which really did not matter much to her. This was perhaps the happiest period of Madhubalas life. Her love affair with Amrohi continued even after Mahal was released in 1949.

Father Attaullah Khan was aware of this affair. But he was in awe of Amrohis great personality. Khan used to say Aage chalke ein donho ki shaadi ho jaaye to mujhe koyi aitraaz nahin hai (meaning I have no objection if both will get married in near future). They may have gotten married but for possessive mind of Madhubala. Amrohi was a Muslim. And Islam allowed upto 4 wives provided that first wife gave consent to her husband for second marriage. However, Madhubala did not want to share with Amrohis first wife. Madhubala insisted that Amrohi should first take divorce from his first wife and only after that she will marry him. Amrohi was not willing to do this. Amrohi insisted that Madhubala must learn to share with his first wife. Amrohi used to say Baatne se pyar badhata hai (meaning when you share your love it expands its boundaries). Amrohi told Madhubala that she should not be jealous. Madhubala did not agree with Amrohi. On the contrary, she offered him lakhs of rupees and insisted that he leave his first wife. Amrohi remained loyal to his first wife and told Madhubala bluntly that he may be selling dialogues, stories to film industry, but he cannot sell his wife and children and nor his conscience! But Madhubala always wanted more from her men and she obviously did not agree with Amrohi and she broke off with him, never to see him again.

Actor Premnath:

FilmBadal was the first movie of Madhubala with Premnath as hero. On the first day of the shooting, before shooting started, Madhubala entered makeup room of Premnath and quickly handed him a fully blossomed red rose and a note. Puzzled Premnath read the note which said that if you love me, please accept the rose, otherwise return it. Premnath was stunned. The most beautiful woman in the country had offered him her love. Without hesitation, Premnath accepted the rose and tucked it into the button hole of his coat and said to Madhubala Kubool hai, kubool hai (meaning I accept it, accept it). Madhubal-Premnath love affair slowly started to blossom. But after few weeks, she started to distance herself from Premnath. But why she wasnt content with Premnath? Did he lack something? Was she worried that Premnath would let her down and eventually leave her? Her breaking off from Premnath remained a mystery. In the meantime, Madhubala was eyeing for a bigger fish, none other than Dilip Kumar.

Later on Premnath came to know from Ashok Kumar that few weeks back, Madhubala had offered Ashok Kumar a rose with similar note with offer of her love. Premanth got furious and decided not to see Madhubalas face again. And Madhubala-Premnath affair ended very quickly.

Actor Dilip Kumar:

Love affair of Madhubala and Dilipkumar was of melodramatic proportions with many ups and downs. It was like a Bollywood script for a romantic movie. This love affair was a major love story of her life. Like Madhubalas family, Dilip Kumar was also a Pathan. Her love affair with Dilip Kumar started when she was only 17 years old. Her father Attaullah Khan stood between her and Dilip Kumar. Khan started to worry that if Madhubala gets married to Dilip Kumar, he would loose the financial cushion that Madhubala offered to Khans entire family as she was the sole breadwinner for the Attaullah Khan family. Elder Khan was against any relationship between Dilip Kumar and Madhubala as Madhubala had just started to earn huge amounts of money for her film roles.
It has been said that Dilip Kumar had insisted that if they were to marry, Madhubala would have to severe all ties with her family. The authenticity of this statement is questionable. It would be safe to say that Dilip Kumar never liked her father Attaullah Khan and had a deep resentment towards him for his possessiveness of his daughter. Khan allowed his daughter to interact with Dilip Kumar only on the sets of the studio. Both Dilip Kumar and Madhubala had to take extreme care to keep their rendezvous hidden from the watchful eyes of Attaullah Khan. But Dilip Kumar would not take it anymore. Dilip Kumar felt it like a huge imposition.

However their relationship continued for number of years. Because of Madhubalas father they could not establish a full relationship which finally took toll in 1957 when both broke off from each other. It involved a court case drama in the presence of the press and the public. Dilip and Madhubala both signed for producer B. R. Chopras ambitious film Naya Daur which initially required 40-day location shooting in Bhopal. Both Dilip Kumar and Madhubala were paid initial signing amount. As usual Madhubalas father , the suspicious Attaullah Khan always had refused to send Madhubala on location shooting. Khan insisted upon shooting in the studios which was not acceptable to B. R. Chopra. Madhubala was caught in the middle. However, she had determined to accept what her father would finally decide. Eventually, Madhubala was dropped and was replaced by Vyjayantimala. Attaullah Khan was furious and sued B. R. Chopra for not honoring the contract. And B. R. Chopra counter sued. Whole drama was dragged into court which also became feast to the press and the general public, since during cross-examinations lots of details about Madhubala-Dilip Kumar love affair got revealed. The whole drama meant disaster for the couple. In the final days of the trial, Dilip declared in the court that he loved Madhubala and will continue to love her until his death. Finally, there was an out of court settlement. But the relationship already had come to a bitter end.

But as the fate would have it, Madhubala had already signed a contract with K. Asifs forthcoming epic Mugal-e-Azam. Madhubala had to fulfill this contract despite her broken relationship with Dilip Kumar as she always respected producer K. Asif. And she had to keep her word. The film took an incredible 10 years to complete from the years 1950 to 1960. The film production schedule ironically followed the graph of the Madhubala Dilip Kumar romantic affair. By the end of filming, the pair had already gone through their break-up. Dilip Kumar was very bitter and was not even talking to Madhubala except when shooting required a dialogue delivery with Madhubala. Under these conditions, it is remarkable that Madhubala maintained her composure and gave her best for the film with her superb acting. Ironically, life imitates art. As in the story Madhubala's character Anarkali is compelled into convincing Dilip Kumar's character Salim that she really does not love him.

The character of Anarkali was Madhubala's best role of lifetime. It was her greatest role ever and was also one of the greatest of Indian films ever made. Although during the shooting of the film Mughal-e-Azam, Madhubala was plagued by ill health and a broken heart, she did manage to complete the film. Film Mughal-e-Azam immortalized Madhubala. The role of Anarkali in Mugal-e-Azam is considered to be one of the greatest portrayals and beautifully crafted role of Indian film history.

Zulfiqar Ali Bhutto:

 Very few Indians know that Zulfikar Ali Bhutto lived both in India and Pakistan until late 1950s. Bhutto was a very rich man and owned lots of real estate in Mumbai at that time. He also owned a sprawling Mansion named as My Nest at Bandra, Mumbai which was later confiscated by Indian Government during 1965 Indo-Pak War along with his other assets in Mumbai. In 1950s, Bhutto used to visit the sets of Mughal-e-Azam in Mumbai studios just to see Madhubala. Especially, on the sets when the song Mohe Panghat Pe Nandlal Ched Gayo Re was being picturized, Bhutto was present and he was completelymesmerizedby the song composition and the picturization. Maestro Music Director Naushad was also present at the time of this picturization and Bhutto complimented Naushad Saab for composing such a melodious song based on RagaPilu. Bhutto was considered a special guest of Madhubala. Madhubala liked Bhuttos charm. Sometimes they used to have lunch together and Bhutto used to make her laugh with his wit. In those days Bhutto used to live at Worli, Mumbai and used to practice law as a barrister in Mumbai High Court. However, Bhutto was not part of Mumbais film world. Bhutto was obsessed with Madhubalas beauty. He used to come to the sets of Mughal-e-Azam and used to sit in the studio for hours watching Madhubala. But Bhutto had already wedded Shirin Begum, daughter of a rich landlord of Larkana, Sind and he was also married to Nusart, an attractive young Irani girl (mother of Benazir Bhutto). As a result Bhutto used to shuttle between Larkana and Karachi. And now with Madhubala in mind, he started three-way shuttle to Larkana, Karachi and Mumbai. But Bhutto had different plans. In the meantime, he had decided to plunge in Pakistani politics and left Mumbai for good to settle down permanently in Sind, Pakistan. Thus Anarkali Madhubala could not become the first lady of Pakistan (Note: Bhutto became Prime Minister of Pakistan in 1972). Exact relationship betweenMadhubala and Bhutto remains shrouded in mystery. Only Madhubalas diary could have thrown some light on this subject. However, her diary was buried by her father with Madhubala in her grave.

After the break up with Dilip Kumar, Madhubala already knew from her Doctors that she had a severe heart ailment and she would not survive too long. She realized that during her last phase of life, she definitely needed some company. And she thought of Kishore Kumar who was her hero in the film Chalti Ka Naam Gaadi. She thought probably Kishore Kumar will give her stability if she married him.

Actor/Singer Kishore Kumar: Soon after Madhubala's break up with Dilip Kumar she married actor/singer Kishore Kumar. This was a marriage of convenience. Actually Kishores parents never approved this marriage. Madhubala needed stability in her life and Kishore at that time needed financial help. At the time of this marriage, Kishore already had financial problems. He owed huge amount of Tax arrears to Income Tax Department. Income Tax Department had already assessed his Juhu House for selling in auction towards the payment of his Tax arrears. Kishore thought that Madhubala will help him out financially. But Madhubala had severe health problems and had no time to take care of Kishores financial problems. (Note: Later in 1969, after the song Mere Sapnon ki rani from the film Aradhana clicked, Kishore Kumar never looked back. His fortunes changed drastically and he remained topmost singer until his death in 1987. At the time of his death he left behind Rs. 4 crores worth of assets).

Madhubala-Kishore Kumar marriage after its initial bliss turned out to be stormy and unfulfilling. Madhubala's terminal illness confined her to her house which caused huge amounts of tension between the married couple. By now, Madhubalas heart and spirit were greatly weakened. Madhubala knew that she will not survive too long. She existed only because of visits by her close family members and friends. In the last few years of her life, she was confined to her bed. Madhubala passed away on February 23, 1969 on a Sunday morning when she had just turned 36 years old.
After her death, Madhubala became a legend. To her fans she was like an ethereal queen as in the film Mahal and also as a tragic Anarkali of Mughal-e-Azam watching with terrified eyes before brick wall started to mount around her. Later, many clones of Madhubala appeared in Hindi film world like Preeibala, her sister Chanchal etc. But none of them had that charm of Madhubala. Nobody had that mischievous smile.

In real life, Madhubala always desired to be an ideal wife of a caring husband. She was selfless and self-centered. Madhubala was a possessed woman. She was constantly haunted by her own insecurities. On the screen, she captivated her fans with her happy-go-lucky light-hearted performances. But in real life she was an extremely unhappy woman. Because of her heart ailment, she always lived under the shadow of death. In the end, she had realized that the fame, adulation, wealth was only momentary. At times she was whimsical and very difficult to control, yet she always remained charming who rose from ordinary to extraordinary.

With her personal diary buried in her grave, we will never know what real Madhubala was. In the end, one can sum up her life as an unfinished melody.

DILIP KUMAR - In his own words about his relationship with Madhubala
— (Extract taken from the actor’s autobiography Dilip Kumar: The Substance and the Shadow 2014)

“Was I in love with Madhubala as the newspapers and magazines reported at that time? As an answer to this oft-repeated question straight from the horse’s mouth, I must admit that I was attracted to her both as a fine co-star and as a person who had some of the attributes I hoped to find in a woman at that age and time. We had viewers admiring our pairing in Tarana and our working relationship was warm and cordial. She, as I said earlier, was very sprightly and vivacious and, as such, she could draw me out of my shyness and reticence effortlessly. She filled a void that was crying out to be filled — not by an intellectually sharp woman but a spirited woman whose liveliness and charm were the ideal panacea for the wound that was taking its own time to heal.

“The announcement of our pairing in Mughal-i-Azam made sensational news in the early 1950s because of the rumours about our emotional involvement. In fact, K. Asif (the film’s director) was ecstatic with the wide publicity and trade enquiries he got from the announcement. It was not anticipated or planned that it would be in production for such a long period as it was and Asif was aware of Madhu’s feelings for me because she had confided in him during one of their intimate talks. And, he was equally aware of my nature as a man who made no haste in taking critical personal or professional decisions. As was his wont, he took it upon himself to act as the catalyst and went to the extent of encouraging her in vain to pin me down somehow. He went on to advise her that the best way to draw a commitment from an honourable and principled Pathan, brought up on old world values, was to draw him into physical intimacy.

“In retrospect, I feel he did what any selfish director would have done for his own gain of creating riveting screen chemistry between actors who are known to be emotionally involved. Also, I sensed Asif was seriously trying to mend the situation for her when matters began to sour between us, thanks to her father’s attempt to make the proposed marriage a business venture.

“The outcome was that half way through the production of Mughal-i-Azam, we were not even talking to each other. The classic scene with the feather coming between our lips, which set a million imaginations on fire, was shot when we had completely stopped even greeting each other. It should, in all fairness, go down in the annals of film history as a tribute to the artistry of two professionally-committed actors who kept aside personal differences and fulfilled the director’s vision of a sensitive, arresting and sensuous screen moment to perfection.

“Contrary to popular notions, her father, Ataullah Khan, was not opposed to her marrying me. He had his own production company and he was only too glad to have two stars under the same roof. Had I not seen the whole business from my own point of view, it would have been just what he wanted, that is, Dilip Kumar and Madhubala holding hands and singing duets in his productions till the end of our careers. When I learned about his plans from Madhu, I explained to both of them that I had my own way of functioning and selecting projects and I would not show any laxity even if it were my own production house.

“It must have tilted the apple cart for him and he successfully convinced Madhu that I was being rude and presumptuous. I told her in all sincerity and honesty that I did not mean any offence and it was in her interest and mine as artistes to keep our professional options away from any personal considerations. She was naturally inclined to agree with her father and she persisted in trying to convince me that it would all be sorted out once we married.

“My instincts, however, predicted a situation in which I would be trapped and all the hard work and dedication I had invested in my career would be blown away by a hapless surrender to someone else’s dictates and strategies. I had many upfront discussions with her father and she, not surprisingly, remained neutral and unmoved by my dilemma. The scenario was not very pleasant and it was heading inevitably to a dead end. In the circumstances, therefore, it seemed best that we did not decide to marry or even give each other a chance to rethink because my resolve by then had become strongly against a union that would not be good for either of us.”

THE MYSTERY BEHIND MADHUBALA'S DEATH

Death at the young age of 36 is surely tragic and it is more painful if it happens to a film celebrity who is at the peak of his/her career. Hence when Madhubala died the film industry was taken aback and multiple rumors were circulated for her sudden and untimely demise.

Some film magazines alleged her death to the irrepressible grieve that she underwent due to her failed love affair with her heartthrob thespian Dilip Kumar. Reports claimed after Dilip Kumar kicked Madhubala out of his life and married Saira Banu, Madhubala was heartbroken and in utter melancholy she went into depression.
 
Others media reports claimed Madhubala had died due to the utter hardship that she endured during the shooting of K.Asif’s classic MUGHAL-E AZAM. According to reports K.Asif to explore authenticity had used genuine iron chains for the shooting of the song Bekas Pe Karam Kijiye...the burden of these chains played havoc as the amount of physical exertion made Madhubala weak and pale and ultimately took her life.

However Madhubala’s elder sister Madhur Bhushan turns down all these reports and revealed the real truth about Madhubala’s death in an interview.

She said, "It may stun readers but the fact is that Madhubala lived a life more than she was expected to live because at birth she was detected of Ventricular Septal Defect (VSD), a disorder colloquially referred to as a ‘hole in the heart.’" "What was most disturbing is that when she was born of this disease there was no medication but thankfully she survived and it was only during the shooting of BAHUT DIN HUE (1954) when Madhubala vomited blood on the set doctors came to know about her dreadful disease."

Luckily by than Dr. Clarence Walt Lillehei, an American surgeon who pioneered open-heart surgery, had operated a baby suffering from VSD successfully, she informed. She added, "Hence we took Madhubala to London for treatment but surgeons declined to operate her as the operation was successful only for kids and for adults research was in progress. Thus we returned disappointed." She spent her last nine years on bed, but still managed to finish her work. Kishore Kumar wasn’t ready to take her responsibilities due to his work pressure. In 1969, she also set out to direct a movie Farz aur Ishq, which was never made. According to doctors, critical heart surgeries also could not save her live but it was not practised on the adults.

The breathtaking beauty breathed her last on 23 February 1969 at a premature age of 36. She was buried at the Santa Cruz cemetery along with her diary, but the last remnant of the beauty, her grave, was wiped away due to religious reasons in 2010.

Thus Madhubala–the immortal woman with a mischievous smile and a mystical aura to the present day resides in the heart of millions.