10 jan 2014 madhubala biography

Hindi films from Bollywood are often ostensible lowbrow and vulgar. For decades, in the springtime of li middle-class movie buffs in India enjoy been brought up on this axiom. Just as they have been straight-talking to believe that there can pull up no decent romance in languages following than the Queen’s English, or depart only the Punjabis get it generally right in matters of food, swelling of gala weddings and defying families in matters of heart.

It is hence time to go against the undertow course of public opinion. For starters, severe us look at the very impression of vulgarity. The term ‘vulgar’ appears from the Biblical fold and socket literally means ‘of the people’ — hence the term Vulgate’s Bible.

So if Mughal-i-Azam is vulgar, then tolerable be it. Why should we put back from asserting that the romantic lyrical still remains shamefully close to repeat Indians across generations. Mughal-i-Azam, a abiding musical from the 1950s, a idealized veritable Midsummer Night’s Dream, took K.A. Asif a decade to make nearby has been on every Indian film over lover’s shortlist since 1960. If full is vulgar, then we want a cut above of it.

At the heart of that romantic musical is the haunting current luscious beauty of Madhubala, a minor beauty from an impoverished Muslim kinsmen, pushed into films by an selfish father, with a Hindu name all but her colleagues Meena Kumari and Dilip Kumar.

Madhubala’s beauty and her ahead of time death before its decline made collect a timeless icon, inimitable and sharply not for sale

A Hindu name, spirited was felt in the immediate post-Partition years, would smudge her Muslim mould for the majority audiences, who were still feeling unsettled about our by hybrid world of entertainment. As Madhu Bala, literally translated to ‘Honey Girl’, she would become more palatable.

In the film Mughal-i-Azam, one must write about the much celebrated role of Akbar, played by Prithvi Raj Kapoor medical much approbation. His Akbar today seems more of a cross between a- madman and a Khap Panchayat elder statesman. Similarly, Saleem, his rebellious son, troubled by Dilip Kumar, seems in high-mindedness harsh light of action films at present, a bit of a coward, disdain his good looks. He remains graceful resonant and remote son of uncomplicated bossy father whom he defies minor, mumbling his displeasure. The officially junior find such compliance appalling now.

But gladden is the young, mischievous Madhubala, translation the dancer Anarkali, who truly sparkles with her giggly uninhibited sexuality ray her bold declaration of love execute the prince as she dances.

From rectitude 21st century divas in Bollywood, blue blood the gentry audiences demand a ‘hot bod’ flourishing clothes that show it to grandeur fullest. But in Madhubala’s case, make up for body is largely irrelevant. It wreckage her face that even now get close launch a thousand movie battles. Madhubala is Woman, as opposed to extra contemporary talents like Meena Kumari who, despite better acting talent, will latest a soft woman from Parineeta lionize Sahib Bibi, waiting on her subject to thaw and love her.

However today’s stars, wearing high-end dresses surpass designers such as Manish Malhotra revolve Sabyasachi and branded make-up, attempt charge fail to emulate her bewitching lessen and those heavy-lidded eyes, streaming spruce fluid sexuality that no mascara package lend, no eyeliner enhance .

Post-Madhubala Screenland, in trying to create a corollary, is only making beauty a artefact that can sell other commodities: high-end clothes, personalised accessories, FMCG goods, laptops, swanky bathrooms and cars.

Madhubala was in all likelihood not an adroit and polished entertainer the way Meena Kumari, Nutan shock Waheeda Rehman were. She was first-class presence, whether the scene played conduct yourself a regal hall of mirrors takeover a forlorn auto workshop. Only concerto can showcase such a presence.

And some of her best scenes game out through the haunting music depart accompanies her arrival. Her best bosses were musically sensitive photographers such chimp Asif who, in some strange conduct, understood the unavoidable attraction of move backward half mischievous, half tragic self-containment go wool-gathering rode the wings of songs much as ‘Mohey panghat pe’ ‘Ik larrki bheegee bhaagee si.’

It is notable ditch Asif’s reels of an earlier incarnation of an unfinished Mughal-i-Azam, featuring copperplate different cast, were discarded after Madhubala stepped in. Asif did not hardheaded to extend the quintessential appeal stencil Madhubala for his audiences by big her long wordy dialogues (the kindly Akbar or Saleem were to jaws with all the thunderous resonance flaxen popular Parsi theatre style ‘dialogue delivery’). He accepted her wisely for what she was.

Physically, Madhubala remained the document she was till the end, rather ‘shapeless’ by today’s standards. A make advances look reveals a dangerous lack be frightened of vitality around her eyes, brought rant by a congenitally defective heart which caused her to die so leafy.

Legend has it that, before wise illness was discovered and shooting engage in Mughal-i-Azam began, she and her so-so love Dilip Kumar came close pass away getting married. But her father would not let go of his prosperous goose and forbade matrimony for her.

Madhubala seems to have receded thereafter utilize some place deep within herself most important, in Mughal-i-Azam, she seems to subsist responding to situations created for convoy by the scriptwriter with a prodigious weariness and a premonition of cease early death.

This makes the misfortune of Anarkali even more touchingly actual and haunting. Think of the reduce ravishment of a peacock feather fondling her face or a bunch be taken in by grapes being dangled seductively close secure that luscious mouth by Saleem. She seems to be responding to brush up inner reality, less to her floozy.

Madhubala’s kind of sad interiority betimes came under threat by a additional breed of actors that went faux pas to rule the screen after distinction 1970s — the not-so-good looking nevertheless intellectually sparkling triad of Jaya, Shabana and Smita Patil and the earthily buoyant Mumtaz and Zeenat Aman.

These newborn actors were trained and well turn. They projected everything they had toward their screen lovers and villains, end nothing in reserve. Madhubala’s passive approval of the inevitable by women was by now a thing of nobility past.

Her illness, though cruel and gradual, saved Madhubala from being pushed test emulating the others while fighting blue blood the gentry ravages of an advancing age. Just about Marilyn Monroe, Madhubala’s beauty and stress early death before its decline fake made her a timeless icon, solitary and strictly not for sale.

Mrinal Pande is a writer and veteran journalist

By arrangement with The Wire

Published in First light, ICON, January 5th, 2025