THE MAGIC OF MADHUBALA

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

Shammi Kapoor remembers that when they were shooting for Naqab at the Prabhat Studios in Poona (now Pune), Dilip Kumar would drive down from Bombay to meet Madhubala. He even flew to Bombay to spend Eid with her, taking time off from his shooting stint for Gemini's Insaniyat in Madras. the romance was all too apparent on the screen, where it was reaffirmed in Madhubala's expressive eyes and smiles, and in Dilip Kumar's equally eloquent intensity. If the romantic scenes of Mughal-e-Azam stand out as a class apart and continue to weave their spell on viewers even today, it is largely due to that spark of truth which runs through them, manifesting itself in a palpable undercurrent of passion. The same could be said of Tarana, Amar, of Sangdil in varying degrees. The 'Insaaniyat' premiere incidentally, was the first occasion when Madhubala made a public appearance with sweetheart Dilip Kumar.

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

Her father's was a stern and dominating personality and Madhubala had been in awe of him all her life. When it came to the crunch, despite the depth of her feelings for Dilip Kumar, she did not have the courage to defy and over-ride her father and marry without his approval. Her happiness hinged on both Dilip Kumar's love, and her father's acceptance of it.Her father was rendered unquestioning obedience, love and respect. In fact, it is said that when Dilip Kumar started his own production Ganga Jamuna, he even decided to give the entire profits of the film to Ataullah Khan so that he and Madhubala could get married and she could stop working.

According to Dilip Kumar: "She was a very, very obedient daughter." "I cannot think of marriage," she would say, "Till I have fulfilled my responsibilities to my family". An yet, by the mid-fifties, there were clear indications that she was nearing a decision. In 1955, she made a bold declaration in a Filmfare interview: 'Nobody in the world has any right to interfere with one's choice of a husband. I would marry only the man with whom I am very much in love.'

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

Without distraction, Madhubala faced Dilip Kumar in Mughal-E-Azam; which took ten years to make. By then, Madhubala's father, Ataullah Khan, had become a domineering stage father and he did his best to keep Dilip away from Madhubala. However, like Romeo and Juliet, Dilip and Madhubala found ways to see each other; sometimes a mutual friend's home and if not; there was always on set.

They found ways and means of meeting each other, away from Ataullah Khan's disapproving eye sometimes in Sushila Rani's house, sometimes in her make-up room.

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

During the making of Dhake ki Malmal (1956) in the presence of Om Prakash, events of a dramatic nature took place that decided the final shape of the association between Dilip and Madhubala. Om Prakash was on the sets of the film when he was startled by a message from Dilip Kumar, who asked to see him.

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

Dilip was with Madhubala in her make-up room and the atmosphere was surcharged. Om Prakash was requested to simply sit down and be a witness to the happenings. He watched as Dilip Kumar implored Madhubala, asking her to go with him and be married that very day. He had a kazi ready and waiting at his home and he wanted her to leave with him immediately. "I will marry her today," he emphasised. Apparantly some source had said Madhubala and Dilip has got secretly engaged

It was the condition that he put forth that became the stumbling block: She would have to leave her father and never meet him again. Madhubala's refrain was that this was impossible, and apart from this, she said nothing. "Dilip saab urged her repeatedly -- again and again. He asked if this meant she was not willing to marry him? He told her if he went away now, he would never return. Madhubala was silent. At last, he got up and left -- alone and out of her life." Their stormy relationship lasted about eight years.

It has been said that Dilip Kumar demanded that if they were to marry, Madhubala would have break off all ties with her family. The veracity of this statement is questionable. It would be safe to say that Kumar must have felt a deep resentment towards Ataullah Khan. It was only on the actual film set, or the movie studio that the couple were allowed to interact, and that, only behind the back of the elder Khan. Their rendezvous had to be kept hidden. For Madhubala, to be under the watchful eye of her father, had always been her whole way of life, but for Dilip Kumar, it must have felt like a huge imposition.

The couple though did carry on their affair in this manner for a few years. The stress and inability to have a proper relationship took their toll and finally in 1957 they finally broke up. The events were a major scandal, and involved a court house drama, with the press and eager public as audience.

Dilip and Madhubala had both been signed and were well into pre-production for the BR Chopra film Naya Daur. In the film a 40 day shooting schedule had been allotted to take place on location in Bopal. Ataullah Khan refused to let Madhubala do the location shoot, claiming the scenes could be shot in studio. BR Chopra told Khan the 40 day location shoot was essential. Now it was well known that Ataullah Khan had always refused to let Madhubala do location shoots, stating her fragile health. Dilip Kumar was certain the reason Ataullah would not let her go was because the pair would be unchaperoned on a location shoot for 40 days. Madhubala herself was caught in the middle, she opted to follow whatever decision her father demanded. Eventually Madhubala was dropped from the film and replaced by Vyjayanthimala.

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

Ataullah sued, and BR Chopra counter sued. Eventually the whole fiasco was dragged into court. At some point in the trial the personal relationship between Dilip Kumar and Madhubala was put down as evidence, and their whole affair was put under the spotlight. The filmi press had a field day, and the public ate up every word of the published court transcripts. Dilip feeling very bitter had of course sided with BR Chopra and presented evidence against Ataullah Khan and Madhubala.At some point in the trial the personal relationship between Dilip Kumar and Madhubala was put down as evidence, and their whole affair was put under the spotlight. The filmi press had a field day, and the public ate up every word of the published court transcripts. Dilip feeling very bitter had of course sided with BR Chopra and presented evidence against Ataullah Khan and Madhubala. Dilip Kumar appeared as a witness for the prosecution against Madhubala and said some very bitter things about her in open court. While Dilip was testifying against her, she turned to her lawyer R.D. Chadha and said, ?I don?t believe this is the man who was so in love with me and whom I loved more than anyone and anything in the world.? The elder Khan presented evidence against Chopra and Kumar. It spelled disaster for the couple. At one point in the trial a distraught Dilip Kumar under cross examination on the witness stand, declared, "I love this woman and shall love her till my dying day."

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

Dilip Kumar allowed himself a rare moment of public vulnerability: "I love Madhubala and shall always love her,"he said. Madhubala choked back her tears.

Dilip Kumar never came back and the Naya Daur court case and its fallout put an effective end to any chance of redeeming the relationship. Too much was said and done that could not be forgotten. Madhubala who was shocked and angry in the aftermath of the case made an attempt at reconciliation, but Dilip Kumar evidently could not forgive her. And it seems the pair continued to pine for each other far after their tragic break up. 

The well-known journalist and writer, Bunny Reuben, speaks of her unsuccessful effort to reach out to the estranged Dilip. Assigned to do a feature on her for Filmfare, Reuben was surprised to be given an appointment at her home, not at the studios as usual. He was further taken aback when he was escorted straight to her room upstairs. She seemed very keen to meet him and it occurred to him that it was his well-known proximity to Dilip Kumar that had prompted her to send for him in preference to her friend, Gulshan Ewing.

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

The article was outlined to her but in the meeting which stretched to over two hours, she spoke instead on the subject closest to her heart. "She wanted to talk only about her Yusuf Khan -- doing the feature was secondary. As she proceeded to unburden herself of all the intimate and hurtful details of their relationship, she put her head on my shoulders and wept uncontrollably," recollects Reuben.

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

Reuben understood that she was trying to send a message across to Dilip. "She wanted me to go and convince him how badly he had treated her and how much she still loved him." Moved by her tears, he looked for a suitable opportunity to report the whole episode to Dilip Kumar, but found that Dilip was in no mood to listen.

He had hardly gone beyond the opening sentence: "She still carries a torch for you Yusuf," when he was cut short and curtly dismissed by the angry retort: "What bloody torch?" Not even the essentials of his two-hour conversation with the unhappy Madhubala could be conveyed. In keeping with the spirit of the age, and Filmfare's policy in particular, the star's troubled outpourings were not betrayed in print. There was no 'scoop'.

 

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

Meanwhile, Mughal-e-Azam was still on the floors. Its shooting constantly brought Dilip and Madhubala together but could not heal the scars. Unable to work out a rapprochement, Madhubala channelised her distress and pent-up grief into her characterization of the similarly unfortunate Anarkali. The role assumed sublime proportions 

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

While Dilip Kumar appeared to emerge relatively unscathed, for Madhubala it was the beginning of the end; the festering wounds she carried never really healed. Emotional to a fault, guileless in the bargain, she was simply not equipped to deal with the shock of the break-up. Speaking of her, Nadira once remarked: "She had not a strain of pettiness, of anything small. That girl did not know anything about hate. She was in love with love exuberantly, overflowing with love. She had so much to give."

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

A change began to come over Madhubala, imperceptible at first but quite apparent to those who knew her. A friend described it thus: "In 1951, when I first knew her, she was always smiling, always gay. I envied her peace of mind. By 1958, the beauty was still there but the peace of mind had vanished."

The same year, Filmfare observed: 'Her laughter is a becoming quality, not only because she comes to life as it were when she laughs but because a smile is the most charming cloak for a sob... Madhubala has had her share of struggle, suffering, disillusionment and emotional shock but no matter what lies beneath the surface she cloaks it with a graceful smile.'

Madhubala remained with her family. Her love for Dilip  remaining unchanged, the decision that she felt impelled to take proved to be a singular mistake of judgement, for it robbed her of her health, her happiness and her peace of mind. For a girl as loving and emotional as she was, the decision was suicidal.

For the next few years, she followed the time-honoured antidote for heartbreak and, turning to her work, tried to forget her troubles. She had the satisfaction of working in a number of highly successful films like Kala Pani, Howrah Bridge, Chalti Ka Naam Gaadi and Barsaat Ki Raat On the personal front, she made an admirable bid to maintain a facade of normalcy, but a wastefulness and a lost look began to lurk just under the surface, and the fabulous smile no longer reached her eyes. "She must have been miserable, but she wouldn't show it," comments Sushila Rani Patel. "An ethereal beauty," noted Gulshan Ewing, "whose eyes were always sad, but whose lips were always smiling." But in the presence of long-time colleagues or in the privacy of her make-up room, there were times when sobs racked Madhubala. . It seemed the pair continued to pine for each other far after their break up, Dilp Kumar a crushed man slipped to alcohol, and eventually married Saira Bano Bharat Bhushan, Pradeep Kumar, and Kishore Kumar proposed her to. She eventually married the latter of the three, she and Kishore Kumar argued and bickered constantly, plunged into a loveless marriage with him Madhubala soon realized that she had made a mistake in marrying him, as she truly loved and desperately wanted to marry Dilip.

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

(Taken from an interview with Madhubala?s sister)

KS: When she married...
MB: Yes, she was already sick. We had decided on going to London for the diagnosis. But Kishore-bhaiyaa was adamant, he said, 'Look she is not sick, nothing's happened to her.' And indeed, she didn't look very sick. My father and others tried to convince Kishore-bhaiyaa, 'Let the diagnosis be done in London first, and then you can get married'. But he didn't relent. Finally, the marriage happened and thereafter, they went to London. On coming back from there, I don't know what happened to Kishore-bhaiyaa, he came and insisted on her being kept at our house. He said, 'She is very sick, I can't take care of her. Even the doctor has given her little more time.' We said, 'Whatever little time she has now, she would love to spend with you.' But then he said, 'No, I have to go to shootings.' We suggested he keep a nurse. But again, he didn't relent. So we sisters, till today, have a regret somewhere deep within us, that the love she always desired, she never got.

(Quote) It so happened that in real life Dilip Kumar was already in love with Madhubala. And obviously this romantic pair clicked at the box office. The shooting of Mughal-e-Azam started in 1950 and it took ten years to complete.

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

Stopping the Linkage from Mohan Deeps gossip sham book.

(Taken from an interview with Madhubala?s sister)

KS: I think she was also distressed by the gossip printed in the film magazines once she fell sick...

MB: Yes, a lot was printed about how she was very 'romantic' and had many affairs. Let me make this clear, I swear to God that this is not true. Of course, the industry is a man's world and as co-actors, she indulged in a bit of friendly banter with men, but everything got converted to linkages. 'Flirting' was the word used at that time.
In that era, there were also gentlemen like Premnath-ji, who was linked to her after they co-starred in 'Baadal' and 'Saaqi'. Premnath-ji actually came and proposed to her, saying 'Madhu, I want to marry you.' But she declined saying our father was very strict and wouldn't approve of it.
Just let me make it clear that
she hadonce fallen in love with Dilip Kumar and married Kishore Kumar
. Madhubala was confined to her bed in the last days of her life, she repeatedly watched her favourite movies, Mughal-e-Azam, Barsaat Ki Raat, Chalti ka naam gadi and Mahal. She used to recite Urdu poems to herself and saw her 'pyar kiya to darna kya' over 500 times.

(Taken from an interview with Madhubala?s sister)

KS: In her final days, where was she?

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

MB: She was with us. Kishore-bhaiyaa never took her.

Madhubala's reflections a chilling evidence of the disastrous consequences of the break-up on her mind and heart. All the underlying bitterness, the sense of betrayal and dejection come through as she speaks of 'the innumerable sorrows and few joys that life had given her.'

The sum total of my life is a bitter experience which is coiled tight like a spring within my heart and when released hurts excruciatingly. It is true that one learns something from every experience but when the experience is evil, the shock is so great that one feels as though one can never recover from it.

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

Dilip Kumar and Madhubala were both very private persons, and their meetings were away from the public eye. 'They went out for drives after shooting', said a friend, 'or she picked him up on her way to the studios. She'd sound the horn and he came out and joined her. She did not enter his house. It looked very much like they'd get married any day. When Dilip Kumar married Saira Banu [in October 1966] she did not like it.' 

The perceptive Nadira saw it too: 'She considered herself married to him. They were almost married. She wore his ring, he wore hers.' Dilip Kumar himself acknowledged it in a statement to a newspaper, saying a proposal had been sent from him. A film journalist of the time, Ram Aurangabadkar, reported that Dilip Kumar sent his eldest sister, Badi appa, to Madhubala's house with a marriage proposal, saying they'd like it to be in seven days. Ataullah Khan refused.

Emotional to a fault, guileless in the bargain, she was simply not equipped to deal with the shock of the break-up. Speaking of her, Nadira once remarked: 'She had not a strain of pettiness, of anything small. That girl did not know anything about hate. She was in love with love. Exuberantly, overflowing with love. She had so much to give.'

The scenario was bizarre. With feelings for each other just as strong, with no other individuals creeping into either of their lives, they persisted in proceeding to destroy their relationship almost as if compelled by forces beyond them. In the space of about five to six years, choosing to become Mrs Kishore Kumar, Madhubala had taken the most irrational decision of her life. The general reaction to her marriage to Kishore Kumar was echoed in Nadira's incredulous disbelief: 'From the sublime to the ridiculous! Oh my God! Madhu what are you doing?

I am very emotional. I have always lived my life with my heart. For that I have suffered more than is necessary. I have been hurt.

She expressed her desire to see Dilip the day before she died.

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

Dilip Kumar had loved Madhubala, but would marry her only on his terms. Her father had loved her too, but laid down his own terms and conditions at every stage. Finally, both had to stand by and watch the disintegration of a beautiful human being before their eyes.

People say that Dilip Kumar till date makes it a point to place flowers over her tomb.

(Taken from an interview with Dlip Kumar still hold the bitterness towards Atullah after all these year he still loves Madhu and doesn?t let anyone in)

What about Anarkali? It is no secret surely that he had a tempestuous affair with Madhubala, the film's heroine? He does not deny the relationship. So were they really in love when Mughal-e-Azam was made? Or was it all just acting? Dilip Kumar begins to get a little evasive. "Frankly," he says finally, "I don't remember the exact timing. Was I carrying on an affair with her when the film was made? Was it before? I don't remember." A breakthrough. He is notoriously reluctant to talk about any of the women in his life so even this slightly evasive answer about Madhubala marks a break with precedent. "Why didn't you marry her?" I persist. "She was very beautiful." "She was a very nice girl," he responds. "She made a conscious attempt to improve herself. By the end, she had even learnt to speak good English." Was her family the problem? He begins to talk about something else. Saira Banu comes to my rescue. "Her father Ataullah Khan was also a Pathan, wasn't he?" she begins. She knows her husband well. The response is immediate. "Pathan, my foot! He couldn't speak one world of Pathani! He was no Pathan. He was from Delhi or somewhere." So the family was the problem. But Saira will not let him off so easily. "Is it true that Ataullah Khan wanted you to act in his home production and you refused and this led to a rift?" "How can a man like that expect to make movies?" says Dilip Kumar, now slightly agitated. "He thought that because of his daughter, I was signed, sealed and delivered." I look accusingly at Saira. "He's told you the Madhubala story before?" I ask. "No, no," she says. "He never talks about her.

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

(Madhubala true and love Dilip Kumar aka Yusuf Khan)

Given the nature of her beliefs and her inherently emotional temperament, it was really no surprise at all that when Madhubala fell in love, she committed herself totally and for life. "Madhu loved only one man," confirmed her sister Kaneez Fatima, "and that was Dilip Kumar, till the day she died."

(A Quote of dilip kumar)

To dig back memories it involves efforts. Memories so often go to sleep within the mind. Sometimes it becomes painful when you think of a tragic incident.

Interview extract in 2004 of Dilip Kumar.

Is it true that the idea of restoring and colouring the print of Mughal-e-Azam was basically your brainwave? Yes, I had made the suggestion to the son of the late Shapoorji Pallonji. The idea had been discussed with the Indian Academy of Arts & Animation that does a lot of work for foreign countries and specialises in the art of fine paintings. Sterling Investment Corporation Pvt. Ltd. approved of the proposal and the project got underway

Industry lore has it that when Asif sahab approached Ustad Bade Ghulam Ali Khan to sing Tansen?s ?Prem jagon ban jaoo...?, the maestro was not too keen. He insisted on seeing the scene first and it was hurriedly edited and shown to him. It was a moonlit night...Prince Salim was in the palace garden cradling Anarkali?s head and caressing her cheek with a feather... Ustadji, we?re told, was so wowed by the beautiful Anarkali and her handsome prince that he sang the song four times. And each time the reel had to be rewound and screened for him.

Dilip: Yes, Ustad Bade Ghulam Ali Khan saab insisted on seeing the film first. But I don?t think he agreed to sing the song because of the beautiful Anarkali. No doubt Madhubala was a beautiful lady but I think he was finally convinced by what he saw... By what we had shot.

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

Dilip saab was so emotional at the end of the Mughal e azam rerelased premiere , at the end of the film he has tears well up. He gave speech in a very emotional state  ' i wish Allah would   bring back the people in the film who are no longer here with us.

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

ROYAL MESSENGER visits Dilip Kumar

During the Mughal era, the 'Shashi Paigaam' or the 'Royal Message' was sent with pomp to deliver a message from the Emperor himself. Over four decades after the release of the historic Mughal-E-Azam, the one and only prince Salim i.e. Dilip sahab was once again presented with a 'Farmaan'. This time the occasion was the release of the colour Mughal-E-Azam DVD and VCD by Shemaroo Video. In an innovative presentation, Shemaroo's 'Royal Messenger' visited Dilip Kumar at his residence, read out a 'Farmaan' in Urdu announcing the release of the Mughal-E-Azam DVD and took the honours in presenting a copy to Dilip sahab.   For a movie that has been so widely written about and appreciated, Shemaroo Video decided to execute a clutter-breaking idea that was both innovative and novel in its presentation.

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

Notably happy on receiving the colour Mughal-E-Azam DVD copy, Dilip sahab and Saira Banu relived the nostalgia of the movie's black-and-white and colour premieres and how times had changed since.

Mughal e azam dvd release, Dilip kumar happy with the the print and Madhubala poster besides him stuck up in his house.

Dilip Kumar said he still remembered all the dialogues of the film and could recite them without having to read them again. His wife Saira Banu said that it was after a long gap of forty years that Dilip Kumar had visited the Eros theatre to watch any film.

 

'She loved Dilipsaab till the day she died'

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

On her romance with Dilip Kumar

The reason Madhubala broke up with Dilip Kumar was B R Chopra's film Naya Daur, not my father.

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. Dilipsaab and Madhubala were engaged then. Dilipsaab 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.

Dilipsaab 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.

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

December 2012

Dilip Kumar on his 90th birthday

Meanwhile, it is impossible for any of Dilip Kumar?s talks to take place without the mention of his lost love Madhubala. So, when sources quizzed him about the late actress and girlfriend, he said, ?Madhubala was very vivacious as an artiste and person. It was in Tarana that our pairing became noticed, though most film lovers cherish her gorgeous screen presence in Mughal E Azam.?

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

LOVING AND LOSING

‘‘Apa (Madhu) first fell in love with Premnath. The relationship lasted six months. It broke on grounds of religion. He asked her to convert and she refused. The next relationship was with Dilip Kumar. She met Bhaijan (Dilip Kumar) on the sets of Tarana. They later worked in Sangdil, Amar and Mughal-e-Azam.  It was a nine year long affair. They even got engaged. Unki apa aayee thi, chunni lekar (his sister had come with a chunni as is the custom). Bhaijan was also a Pathan. Contrary to reports, my father never stopped her from getting married. We already had enough money by then and were financially secure. Apa and Bhaijan looked made for each other. He’d often come home. He has even seen me in my school uniform. He was respectful towards us children and addressed us with ‘aap’. The two would go for a drive or sit in the room and talk. ‘‘The breakup with Dilip Kumar happened due to the court case during Naya Daur in the mid ’50s. The unit was to shoot somewhere in Gwalior.  During the shooting of another film Jabeen Jaleel, at the same location, a mob had attacked the women and even torn their clothes off. My father was wary and just asked that the locale be changed. It’s not that he didn’t let her go outdoors. Apa had shot in Mahableshwar, Hyderabad and other places before. Bhaijan called my father ‘a dictator’ in court and sided with the Chopras (late BR Chopra was the director). Darare padh gayee, rishtey toot gaye (relationships were broken).‘‘We love and respect Bhaijan but I have just one question, ‘Aapki mohabbat yahan thi, aapki chahat yahan thi, phir aapne aisa kyun kiya (why didn’t you side with your love)?’ Bhaijan could’ve simply said let’s change the location. Or remained neutral. Apa used to cry a lot those days. They had conversations on the phone trying to patch up. He kept saying, ‘Leave your father and I’ll marry you’. She’d say, ‘I’ll marry you but just come home, say sorry and hug him’. It was zid (ego) which destroyed their love. But my father never asked her to break the engagement or ever demanded an apology from him.

 

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

THE LAST YEARS

‘‘On the rebound Apa got involved with Kishore Kumar who was going through a divorce with Ruma Devi Guha Thakurta (actor-singer). What attracted her to Kishore? Maybe it was his singing or maybe his ability to make her laugh. Their love affair went on for three years through Chalti Ka Naam Gadi and Half Ticket. They got married in 1960, when she was 27. After marriage they flew to London where the doctor told her she had only two years to live. After that Kishore left her at our house saying, ‘I can’t look after her. I’m on outdoors often’. But she wanted to be with him. He’d visit her once in two months though. Maybe he wanted to detach himself from her so that the final separation wouldn’t hurt. But he never abused her as was reported. He bore her medical expenses. They remained married for nine years.  ‘‘The hole in her heart (ventricular septal defect) was detected when she was shooting for SS Vasan’s Chalak in Madras 1954. She had vomited blood. She was advised bed rest for three months but continued working as her films would suffer. While shooting for Mughal-e-Azam she was tied with chains and had to walk around with them. That was stressful. By the end of the day her hands would turn blue. She’d even refuse food saying that she had to look anguished and weary for the jail scenes. The ‘feather scene’ between her and Bhaijan (considered the most romantic in Hindi cinema) was shot after the breakup. ‘‘Due to her ailment, her body would produce extra blood. So it would spill out from the nose and mouth. The doctor would come home and extract bottles of blood. She also suffered from pulmonary pressure of the lungs. She coughed all the time. Every four to five hours she had to be given oxygen or else would get breathless. She was confined to bed for nine years and was reduced to just bones and skin. She’d keep crying, ‘Mujhe zinda rehna hai, mujhe marna nahin hai, doctor kab ilaaj nikalenge (I want to live, I don’t want to die, wonder when the doctors will find a cure)’.

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

‘‘During her last days, I was suffering from chicken pox and so was advised to stay away from her. But when the doctor said that she was sinking,
I rushed up to see her. But she had passed away (February 23, 1969). She was only 36 to my 19.‘‘Though Bhaijan never visited her when she was unwell, he flew down from Madras to pay his last respects at the kabrastan (cemetery). Food was sent from his home to ours for three days (as is the custom).

THE LOVE AFFAIR BETWEEN DILIP AND MADHUBALA

‘‘I remember when Bhaijan married Saira Banu, Apa was sad because she loved him. She’d say, ‘Unke naseeb mein woh (Saira Banu) thi, main nahin’. But she’d also say, ‘He’s got married to a very pretty girl. She’s so devoted. I’m very happy for him’. But a vacuum remained in her heart. A few years back her tomb was demolished as it was in a Wahabi (a Muslim sect that doesn’t allow building of tombs) cemetery. They wiped away the last memories of a legend.’’

Quote

"Bollywood chooses to believe Dilip and Saira have the perfect marriage. They didn't and they don't know. He's grown to love her and he totally depends on her in his old age but was he ever IN LOVE with Saira? I don't think so. To this day, he has a giant picture of Madhubala in MEA hanging over the reception in his house. What does that tell you?

DK-Saira marriage is a sham. People romanticize it for the sake of it. They were a mismatch from the get go, the generation apart huge age difference should have stopped DK from marrying her. Sounds similar to Rajesh Khanna-Dimple doomed marriage. The younger ambitious actress awestruck by his status/position, blinded by his legendary fame wants a piece of it falls for his flattering attention and it wears off sooner than later. He wanted to be a father so he married a much younger actress. She must be fun company to have around initially with her youthful nakhras/jhatkas, it is hollow. He should have married Waheeda Rehman they belonged to the same era/genre, share mindsets/maturity levels, grown old together and aged gracefully too. DK is unlucky he never found a partner in the true sense. Madhubala died young she would have widowed him. DK-Saira marriage is heavily lopsided, more a father-daughter kinda bond where she became a crutch that he depends on and is handicapped without her around. The crush that becomes the crutch. That is not LOVE at all. Very unfortunate indeed. How does a man live happily with a woman who goes to the Press to divulge dirt on him or his family or threatens him? Saira could have found a compatible husband not a father to take care of. Both are stuck. DK is indeed a very good actor to keep the happy image alive. Maybe if he had kids with Asma or adopted an orphan he would be happier. I don't think kids make a happy marriage, the right partners do. I feel sorry for both. I wish they spend the rest of their years together in happiness."unquote

The Muslim burial ground located opposite Juhu Garden is a historical site of sorts, given that artistes like Rafi, Madhubala, Naseem Bano, Sahir Ludhianvi, Naushad, Ali Sardar Jafri, Khwaja Ahmed Abbas, Jan Nisar Akhtar, Talat Mahmood and Parveen Babi are, or were, interred there.

The process began five years ago, but was brought to the attention of the Economic Times, following the latest celebrity burial of Aamir Khan’s father Tahir Hussain on February 3 whose fresh grave is on the new second tier. 

Already Mumbai's graves are starting to sound like parking lots.

"Once a corpse enters these gates it becomes our property," Asgar Ali, president of the Muslim Majlis, which manages the burial ground said, defending the trust's actions as within Islamic law. "Moreover, there is an acute shortage of space since the Muslim population in the area is expanding and everyone wants to be buried in our graveyard given how clean and high-profile it is."

The Muslim burial ground located opposite Juhu Garden is a historical site of sorts, given that artistes like Rafi, Madhubala, Naseem Bano, Sahir Ludhianvi, Naushad, Ali Sardar Jafri, Khwaja Ahmed Abbas, Jan Nisar Akhtar, Talat Mahmood and Parveen Babi are, or were, interred there.

Their memories and their legacy of songs and lyrics, (poems) are still with us to cherished.

THE MAGIC OF MADHUBALA:  

POPULAR SONGS OF MADHUBALA: continues

I am not upset nor do I have any complaints
I pray that you remain safe and sound
I do not have any complaints
The road to love is very difficult


MOVIE : AMAR 1954
SINGER: LATA MANGESHKAR
MUSIC : NAUSHAD ALI
LYRICS: SHAKEEL BADAYUNI

5) NA SHIKWA HAI KOI
http://www.mastimag.com/download.php?song_id=29680

(Na shikwa hai koi, na koi gila hai)3
I am not upset or have any complaints
Salaamat rahe tu, yeh meri duaa hain
I pray that you remain safe and sound
Na shikwa hai koi
I have no complaints

(Bahut hi kathin hain mohabbat ki raahein)2
The road of love is very difficult
Zara bachke chalna zamana bura hain
Be careful when walking on this dangerous road of love
Na shikwa hai koi
I have no complaints

oooh
(Ajab tere mehfil mein dekha tamasha
I am seeing strange happenings in your party(world)
kahi roshani hain kahi hain andhera)2
Some where it is bright and other place it is dark
Kahi hain andhera
somewhere it is dark

(Mukaddar chiraago ke badle hue hain)2
Each little lamp has a fate of its own
Koi bujh raha hain koi jal raha hain
some are burning whilst some are extinguished.
Na shikwa hai koi
I have no complaints

oooh
(Mubarak tujhe ho tere dil ki duniya
My congratualtions on your new life
meri zindagi ka koi gam na karna)2
Don't think about my sorrow
Koi gam na karna
don't care for my sorrow

(Yeh sab gardishen hain naseebon ke pyaare)2
All these tribulations are destined my friend
Na meri khata hain na teri khata hain
it is neither your fault nor mine
na shikwa hai koi
I have no complaints

Trans:Ranjana

 

THE MAGIC OF MADHUBALA:


MOVIE : EK SAAL 1957 
SINGER: LATA MANGESHKAR

LYRICS: PREM DHAWAN .
MUSIC :  RAVI

6) SAB KUCH LUTA KE HOSH MEIN  
http://link.songspk.cab/indian.../download.php?id=345

Na Poochho Pyar Ki Hamane Jo Haqiqat Dekhi,
Do not ask of what truth about love I saw
Wafa Ke Naam Pe Bikti Huye Ulfat Dekhi,
I did saw love being lost in the name of loyalty
Kisi Ne Loot Liya Aur Hameim Khabar Na Huye,
Someone robbed me whils't I was unaware
Khuli Jo Aankh To Barbaad Muhabbat Dekhi
Coming to my senses, I realised that destruction of love

(Sab Kuch Luta Ke Hosh Mein Aaye To Kya Kiya)2,
I became awake after losing all, so what of it?
Din Mein Agar Charagh Jallaye To Kya Kiya,
If my heart burned like a lamp, what use was it?
(Sab Kuch Luta Ke Hosh Mein Aaye To Kya Kiya)2,
I became awake after losing all, so what of it?

(Main Woh Kali Hoon Jo Na Baharon Mein Khil Saki)2,
I became a flower bud that could not bloom in the spring
Woh Dil Hoon Jis Ko Pyar Ki (Manzil Na Mil Saki)2
I am the heart that could not get to its destination
Patthar Pe Ham Ne Phool Charaye To Kya Kiya,
Even if I try to plant the flower on stone, so what?

Dil Mein Agar Charagh Jallaye To Kya Kiya,
If my heart burned like a lamp, what use was it?
(Sab Kuch Luta Ke Hosh Mein Aaye To Kya Kiya)2,
I became awake after losing all, so what of it?

Jo Mil Na Saka Pyar Gham Ki Sham Toh Mile
That Love was not given let there be a sad evening
Ek Bewafa Ke Pyar Ka Anjaam toh Mile
How unfaithful he has become towards me? 
(Aye Maut Jaldi Aa)2 Zara Aaraam Toh Mile
Let me die so I can rest peacefully

Do Din Ki Khushi Dekh Na Paye Toh Kya Kiya?
If I did not see two days of happiness, so what?
(Sab Kuch Luta Ke Hosh Mein Aaye To Kya Kiya)2,
I became awake after losing all, so what of it?
Din Mein Agar Charagh Jallaye To Kya Kiya,
If my heart burned like a lamp, what use was it?

Trans: Radha

THE MAGIC OF MADHUBALA:

Barsaat Ki Raat [1960) - Zindagi Bhar Nahin Bhoolegi
MOVIE : BARSAAT KI RAAT 1960
SINGER: LATA & RAFI
LYRICS: SAHIR LUDHIANVI
MUSIC : ROSHAN LALL

7) ZINDAGI BHAR NAHI BHOOLENGE
http://www.mastimag.com/download.php?song_id=29413

Lata:
Zindagee bhar naheen bhoolegee wo barasaat kee raat
Never will I forget that rainy night for my whole life
Ek anajaan musaafir se mulaakaat kee raat
The night of meeting with a stranger

Zindagee bhar naheen bhoolegee

Haay jis raat mere dil ne dhadakanaa sikhaa
Yes, the night when my heart learned to beat
Shaokh jazabaat ne seene mein Bhadakanaa sikhaa
When the feelings of love started to make an impact on my heart
(Meree takadeer se nikalee wahee,)2 sadamaat kee raat
My fate has made that beautiful night most traumatic of my life

Zindagee bhar naheen bhoolegee wo barasaat kee raat
Never will I forget that rainy night for my whole life

Rafi:
(Ruthhane waalee)2 meree baat se maayoos naa
Oh displeased one do not get fraustrated by my conversations
Bahake bahake se khayaalaat se maayoos naa ho
Do not be upset with the provoking thoughts
(Khatm hogee naa kabhee tere mere,)2 saath kee raat
Never will we forget this night of our association

Zindagee bhar naheen bhoolegee wo barasaat kee raat
Never will I forget that rainy night for my whole life
Ek anajaan musaafir se mulaakaat kee raat
The night of meeting with a stranger

Zindagee bhar naheen bhoolegee wo barasaat kee raat
Never will I forget that rainy night for my whole life

Trans:Ranjana

 

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