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.
