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A storm breaks out and Shyam lets Leela spend the night at his place after which they fall in love.

A little later, Leela gets acquainted with a Rani (queen) (Durga Khote). After Leela leaves Shyam’s place, she takes refuge with the Rani at her house. The widowed Rani’s only son, the musically talented Kumar (Premnath), falls in love with Leela. For the sake of her son’s happiness, Rani wanted Leela to become her daughter in law. However, Leela tells them that she is in love with Shyam and both Kumar and his mother end up accepting this hard fact. Through Rani, Leela even manages to get a painting of Shyam’s entered in a competition through which Shyam attains fame. Leela and Shyam decide to travel to Shyam’s village to have their wedding. But just as Leela is about to join Shyam, she is kidnapped in front of the Rani’s house by a former suitor from whom she had been running away, and who wants to force Leela to marry him and keeps her prisoner. It turns out later that while trying to prevent the kidnapping, Kumar was seriously hurt.

At one point, Leela almost manages to escape her dungeon with the help of a kind-hearted underling of the main villain. After he recaptures Leela, on his own initiative, the villainous suitor arranges a bizarre and inexplicably idiotic meeting between Leela and Shyam to let them take a final leave of one another, at a restaurant where Leela and Shyam had usually been going, and where the owner is a friend of theirs. At that meeting, the villains are overpowered by Shyam, Kumar and others. During the struggle Kumar is shot and wounded. The police arrive to take the overpowered villains into custody. Kumar tells his mother that his wound will heal.

The film ‘Badal’ featured Madhubala and Premnath in lead roles. The film has the hit song “Do Din Ke Liye Mehman” and ‘Un Sei Pyar Ho Gaya’ sung by Lata Mangeshkar. She was the classic fair lady in the adventurer’s role played by Prem Nath as Badal.There were rumours of flirtation with Prem Nath who backed out at the nick of time after watching Dilip Kumar’s deep involvement with Madhubala.

In their 1962 book Self-Portrait, Harish Booch and Karing Doyle commented that ‘Unlike other stars, Madhubala preferred a veiled secrecy around her and was seldom seen in social gatherings or public functions’ and went on to say that ‘Contrary to general belief, Madhubala was rather simple and unassuming’

In their 1962 book Self-Portrait, Harish Booch and Karing Doyle commented that “Unlike other stars, Madhubala preferred a veiled secrecy around her and was seldom seen in social gatherings or public functions” and went on to say that “Contrary to general belief, Madhubala was rather simple and unassuming”. This is echoed in her sister’s interview with Filmfare: “(Madhubala) became a craze because she was never seen in public. She wasn’t allowed to attend any function, any premiere. She had no friends. But she never resisted, she was obedient. Being protective, my father earned the reputation of being domineering”. Dilip Kumar added: “She was extremely popular… and I think the only star for which people thronged outside the gates. Very often when shooting was over, there’d be a vast crowd standing at the gates just to have a look at Madhu. It wasn’t so for anyone else. That was her personal effect on fans. Dilip Kumar and Madhubala first met on the set of Jwar Bhata when she was 11 years of age, and worked together again on the film Har Singaar (1949), which was shelved.

Her personality was vivacious.” But, “She was aware of her beauty,” reminisces BK Karanjia, former Filmfare editor and a close friend of both Madhubala and her father, “and because there were so many in love with her, she used to play one against the other. But it was out of innocence rather than shrewd calculation.

“Dev Anand recalled in a similar way: “She liked to flirt innocently and was great fun.” However, with Dilip Kumar she had a long association.

In his biography, The Mystery and Mystique of Madhubala, freelance journalist and author, Mohan Deep wrote: She was a woman possessed haunted by her own insecurities until the very end. She loved men and lost them. Latif, Mohan Sinha, Kamal Amrohi, Premnath, Zulfiqar Ali Bhutto, Dilip Kumar, Pradeep Kumar, Bharat Bhushan, Kishore Kumar. She married film’Chalti Ka Naam Gaari’ co-star Kishore Kumar in 1960. Together they had worked in films such as Dhake Ki Malmal (1956), Chalti Ka Naam Gaari (1958), Jhumroo (1961) and Half Ticket (1962). He used to crack jokes and made her laugh. It was a bad choice as he abandoned her with her sister and would visit her once in two months. The marriage lasted from 1960 to 1969 on paper. He had turned into Muslim with the name Karim Abdul. In the hearts of hearts both had not changed their religion.

Sangdil was a great movie, the second one of Madhubala-Dilip Kumar pair.

It was based on adaptation by writer Ramanand Sagar of Jane Eyre by Charlotte Bronte. This film was produced and directed by RC Talwar. This was one of the best romantic films I have seen in my life. Music by Sajjad Hussain and lyrics by Rajinder Krishen are superb. Talat Mahmud’s ‘Yei Hawa Yei Raat Yei Chandni’ with vamp Shammi playing Sitar and flirting with Thakur (Dilip) is an amazing sequence. Here Dilip is shown as a lost soul. Lata croons ‘Woh Tau Chale Gaye Aei Dil Yaad Sei Un Ki Pyar Kar’ filmed on Madhubala watching Dilip (Shankar) leaving for an errand is superb. By now she and recognized her childhood lost friend Shankar but he had not. When Shankar recognizes her to be his childhood beloved the couple unites and croon one of the most melodious duets of its time ‘Dil Main Sama Gaye Sajjan’ sung by Lata and Talat Mahmud.

Basically childhood sweethearts had been separated. They grew up in different circumstances. The girl is brought up to be a ‘pujaaran’ (priestess) while the boy grows up to be a dejected ‘thakur’, turned vindictive by life’s injustices. Fate inevitably brings them together at a later juncture, and all seems happy and perfect for the young couple, until she discovers his deep, dark secret that Thakur was already married to a mad lady, a role admirably played by Kuldip Kaur with her brother Anwar Hussain’s support.

Amar, according to Wikipedia was a psychological drama, exploring a violent act between the main characters and the crisis of conscience that rocks them. A prosperous, well-respected lawyer (Dilip Kumar), in love with and engaged to a young woman (Madhubala), rapes a poor local village woman Nimmi). The rest of the story deals with the aftermath of this tragic event, with all the inevitable undercurrents of guilt, penitence and pervasive heartbreak that stem from it. It directed and produced by Mehboob Khan and starred Dilip Kumar, Madhubala, Nimmi and Jayant. The rest of the story deals with the aftermath of this tragic event, will all the inevitable undercurrents of guilt, penitence and pervasive heart break that stems from it. Despite excellent plot, music by Naushad and outstanding portrayal of the village girl Nimmi, this film failed to perform well at box office. It perhaps was too mature a theme for the cinema goers of that era. The same fate was met by A. R. Kardar’s ‘Dil Diya Dard Liya’ years later on, which was an adaptation of Wuthering Heights.

This film was Guru Dutt’s satire revolving around Anita (Madhubala) a young but naïve heiress who would get her inheritance only if she got married before a deadline. She is in the custody of her feminist aunt, e role played admirably well by Lalita Pawar who hooks up an unemployed cartoonist Guru Dutt to marry Anita and then divorce her. However, in the course of her ostensibly married life, she learns the true meaning of marriage and the deep significance of being an Indian wife, much to the dismay of her aunt, who, in adherence to her wayward beliefs, has been trying to instil every kind of anti-male sentiment in her niece’s ingenuous mind. Madhubala acted very well as a flamboyant heiress with Geeta Dutt’s ‘Preetum Aan Milo’. The other hit songs composed by OP Nayyar are, “Jaane Kahan Mera Jigar Gaya Jee” (a duet sung by Geeta Dutt and Mohammed Rafi) and “Thandi Hawa Kali Ghata” (sung by Geeta Dutt). Movie Mr & Mrs 55 was the fifth highest-grossing film of that year.

Phagun was a ‘Been Sapera’ movie based on the theme of incarnation. Madhubala was cast opposite Bharat Bhushan. Bijon, a young man from a wealthy agriculturist family, falls in love with Banani, a dancer. He faces opposition from his father and is asked to leave the palace. This film had a dozen songs composed by OP Nayyar. All became hit songs especially ‘Ik Pardesi Mera Dil Lei Gaya’.

The attire of a jogan was not becoming on Madhubala because of her smartness and delicacy that she exhibited in 1958 movie ‘Kalapaani’ opposite Dev Anand. In S D Burman’s music the song ‘Acha G Main Haari Chalo Maan Jao Na’ rendered by Asha and Muhammad Rafi. A fan Sagar Shrivastav observed ‘This kind of songs shows what real acting is about. No skin show to look extremely gorgeous and no six-pack or muscles to look most handsome, just pure elegance and at its best’.

In Kala Pani, Madhubala starred opposite Dev Anand who produced this film under the banner of Navketan Films. The film was directed by Raj Khosla, well known for mystery thrillers. The film was the remake of the 1955 Bengali film Sabar Uparey. Both films were based on A.J. Cronin’s 1953 novel ‘Beyond This Place’. The film has the hit song “Achchha Jee Main Hari” sung by Mohammed Rafi and Asha Bhosle as reiterated above.

In the film,Howrah Bridge, Madhubala starred withAshok Kumar and played an Anglo-Indian Cabaret singer involved in Calcutta’s Chinatown underworld. In the song “Aaiye Meherbaan” from this film, she lip-synced a torch song dubbed by Asha Bhosle which has remained popular to this day. The present generation has also taken a liking to this song for its beat and seductive acting by Madhubala. Howrah Bridge connects Howrah to Kolkata over the Hooghly River. It features the well-known song ‘Mera Naam Chin Chin Chu’ sung by Geeta Dutt in the music of OP Nayyar. This song was liftedyears later for the film Salaam Bombay!

The film Chalti Ka Naam Gaari features Madhubala and Kishore Kumar in lead roles and latter’s brothers Anoop Kumar and Ashok Kumar. It was the second highest grossing film of the year. The film has hit songs such as “Babu Samjho Ishaare”, “Ik Larki Bheegi Bhagi Si”, and “Haal Kaisa Hai Janab Ka”. The movie was pure entertainment with funny sequences.

Madhubala ventured into films which had characters that had no glamour attached to them. One such movie was’Insan Jag Utha”. She was paired opposite upcoming Sunil Dutt. The other cast members were Nasir Hussain, Madan Puri, Minoo Mumtaz, Bipin Gupta and Nishi. It was produced by mystery based stories producer, Shakti Samanta. The story line is that Gauri (Madhubala) lives in a small village along with her father and a younger brother. She makes a living working as a labourer. One day she notices a stranger lurking around her house.The stranger subsequently introduces himself as Ranjeet (Sunil Dutt), who has just arrived from Bombay. Ranjeet and Gauri become friends and soon fall in love with each other. Ranjeet starts working for the Government which is in the process of building a dam, where Gauri also works. What Gauri doesn’t know is that Ranjeet is there for a reason. He wants to retrieve the suitcase of gold that he himself had buried in Gauri’s front-yard – the very same gold that he was caught smuggling five years ago – and the very same gold that he had spent five years in prison for. Working as a labourer deprived Madhubala of glamorous dresses and make up but enhanced her image as an actress.

Madhubala acted opposite Bharat Bhushan. The film had excellent Qawwalis composed by Roshan. Her filming of the song ‘Zindigi Bhar Nahi Bhoole Gi Woh Barsaat Ki Raat’ in sad romantic situation has become an ever green melody. This film was one of the biggest hits at the box office and highest revenue film of 1960.

This was the top film of Madhubala. Not only she but Dilip Kumar as Saleem, Prithvi Raj Kapoor as Akbar, Sobha Khote as Jodha Bhai excelled. Music by Naushad Ali was superb. Some sequences were filmed in colour but in the recent past the whole film was re-released in its colour version. An adaptation of Syed Imtiaz Ali Taj’s (of Pakistani origin) drama Anarkali (without giving any credit to him) it was director K. Asif’s dream.

Wikipedia states that Mughal-e-Azam had the widest release of any Indian film up to that time, and patrons often queued all day for tickets. Released on 5th of August 1960, it broke box office records in India and became the highest-grossing Indian film of all time, a distinction it held for 15 years. By some accounts, Mughal-e-Azam remains the highest-grossing Indian film of all time, adjusted for inflation. The accolades awarded to the film include one National Film Award and three Filmfare Awards at the 8th Filmfare Awards. Mughal-e-Azam was the first black-and-white Hindi film to be digitally coloured, and the first in any language to be given a theatrical re-release. The colour version, released in November 2004, was also a commercial success.

The part of Anarkali had first been offered to Suraiya but later went to Madhubala, who had been longing for a significant role. Madhubala suffered from congenital heart disease, which was one of the reasons why at times she fainted on set; she also endured skin abrasions while filming the prison sequences, but was determined to finish the film”.

1960 was the peak year for Madhubala because of the above two films.

Madhubala’s last film Jwala, although shot in the 1950s, was released in 1971. Madhubala had the distinction of working opposite all great heroes of their time namely Ashok Kumar. Dilip Kumar, Pardeep Kumar, Dev Anand, Shammi Kapoor and Rehman. She worked with great actresses such as Geeta Bali, Suraiya, Kamini Kaushal, Nalini Jewent, Shyama, Shakila (film Armaan) and Nimmi. She worked for the great directors K. Asif, Mehboob Khan, Kamal Amrohi and Guru Dutt. Madhubala also became a producer and produced films like Naata (1955) and Mahlon Ke Khwab (1960) and acted in both the films. Her work in costume films Shirin Farhad in 1956 (song: Guzra Hua Zamana Aata Nahi Dobara) and Raaj Naath, with Pardeep Kumar in 1956. Madhubala’s first film with Kishore Kumar was ‘Dhake Ki Malmal’ in 1956. She starred with Shammi Kapoor in 1953 film ‘Rail Ka Dabba’.Her 1950 film Hanste Aansoo was the first ever Hindi film to get an “A” – adults only – rating from the Central Board of Film Certification.

According to Wikipedia, Madhubala’s funeral was not attended by Dilip Kumar and it is not known if he was invited. Madhubala was buried at Juhu Muslim Cemetery in Santacruz, Mumbai. Her tomb was built with marbles and inscriptions include ayats from the holy Quran and verse dedications. In 2010, Madhubala’s tomb along with those of Muhammad Rafi, Parveen Babi, Talat Mahmood, Naushad Ali and Sahir Ludhianvi, were demolished to make way for newer graves. Her remains were placed at an unknown location. What a pity!

The writer is the recipient of the prestigious Pride of Performance award. He can be reached at doc_amjad@hotmail.com