Ek Fankaar, any artist's life, filmography, Suraiya Jamaal Sheikh, S D Burman, Options

[rashmi mehta]

page no : 1
SURAIYAJI
S. D. BURMAN
MADHUBALA
SARASWATI RANE
NUSRAT FATEH ALI KHAN
SHAUKAT DEHELAVI NAASHAD
DEVIKA RANI CHAUDHURY
SUDHA MALHOTRA
RAJKUMARI DUBEY
JATIN LALIT
BULO C RANI

page no : 2

SHARMILA TAGORE
INDEEVAR
SHAKTI SAMANTA
M E E N A K U M A R I
S A N J E E V K U M A R
SRI DEVI
GEETA BALI
MAJRU SULTANPURI
KAIFI AZMI
RAJA MEHDI ALI KHAN

page no : 3

RAJENDRA KRISHAN
TANUJA SAMARTH
MALA SINHA
AAMIR KHAN
KATRINA KAIF



suraiyaji


Born Suraiya Jamaal Sheikh
June 15, 1929 (1929-06-15) (age 79)
Gujranwala, Punjab, now Pakistan
Died January 31, 2004 (aged 75)

Suraiya Jamaal Sheikh (June 15, 1929 - January 31, 2004) was a singer and actress in Indian films, and was popularly known as Suraiya in the film industry. She became a superstar in the 1940s and 50s during the time when actors sang their own songs. IF SHANTA APTE brought spontaneity and refreshing directness in her singing and song-delivery style, Suraiya marked a completely dif­ferent but equally important breakaway from tradition. Born Suraiya Jamal Sheikh in Lahore, she introduced the typical 'adakari' of North Indian Muslims into Hindi films. Expertly combining gestures, music, speech and eloquent eyes, she paved the way for later hearthrobs like Rekha and Madhuri Dixit with her bewitching song delivery. Alhough Noorjehan and Khurshid also brought the same Muslim adakari onscreen with their films, it was Suraiya who shone out as the epitome of that style. Save for her arresting, almond-shaped eyes, Suraiya was not a classic beauty; nor did she trained in classical music. Suraiya , the lovely melody queen created aura with her popular numbers like 'tu mera chaand, main teri chandani' ,'dil-e-nadan, tujhe hua kya hai' and 'woh paas rahe ya door rahe' . Her sultry looks and al­luring eyes matched her melodious voice and distinc­tive style to make her one of the greatest feminine icons of her time, attracting a gen­eration of young women who sought to emulate her and young men who mooned for her.

Early life

Suraiya was born in Gujranwala, Punjab now in Pakistan and was the only child of her parents. She was a dark plain looking girl and was not trained in music, however she went on to become a successful actress and singer.

She had been educated in New Girls' High School in Bombay. Simultaneously she was given religious teachings in Persian at home.

Career

Like many leading ladies of the past, Suraiya's entry into the world of movies was more accidental, than otherwise

Suraiya made her debut as a child artist in Usne Kya Socha (1937). Her films as a child artist ran between 1937 and 1941. She got a break in films with the help of her uncle Zahoor, who was a popular villain of his time. In 1941 during a holiday from school, she accompanied her uncle to Mohan Studios to see the shooting of the film Taj Mahal (1941), a film by Nanubhai Vakil. Vakil noticed the 12-year old girl and chose her to play the role of a young Mumtaz Mahal as they had nobody else to play the role. During her school days she used to participate in "Children Program" on Radio along with Shammi and Rajkapoor. She could sing some popular songs of that time with melody and fidelity . Naushad had heard her voice on the All India Radio where she sang for a children's programme at the insistence of friend Raj Kapoor and neighbour Madan Mohan. From radio, Suraiya moved on to playback singing -- App.reciating her singing talent, a song "Boot karun mein polish" was recorded in her voice by Naushad Sahib in 1942 for the film "Nai-Dunia". In the same year she performed a role in film "Station Master" Other films of her playback singing with music by Naushad Sahib were "Sharda" (Punchi Ja- pechey raha hae bachpan mera), "Qanoon" and "Sanjog"Her singing career soon found a mentor in music maestro Naushad chose her to sing as a 13 year old for Mehtaab in Kardar's Sharda (1942). Suraiya had to stand on a stool to reach the mike to croon Panchi ja, picturised on the much-older heroine, Mehtaab.
She was effectively launched as a singing star in Bombay Talkies Humaari Baat (1943).

She initially started by playing secondary roles in films like K. Asif's Phool (1944) but She made her presence felt in perhaps India's first multi-starrer, played strong supporting second lead roles to Noorjehan in Mehboob Khan's Anmol Ghadi (1946) and Munawar Sultana in Dard (1947). Suraiya had her moments with Socha Tha Kya, Main Dil Mein Dard Basa La Aayee and Man Leta Hai. She got the break as a heroine for the movie Tadbir (1945) at the recommendation of K. L. Saigal who liked her voice during a rehearsal. She went on to co-star with Saigal for two more films Omar Khayyam (1946) and Parwana (1947). More opportunities appeared for Suraiya after reigning actresses Noor Jehan and Khursheed Bano migrated to Pakistan during the 1947 partition. the last remembered for her haunting rendition of Jab Tumhi Nahin Apne.Her pairing with the then superstar Dev Anand was a huge hit and the two went on to star in many successful movies together - Afsar, Shayar and Jeet etal.

Nadira, who later costarred with Suraiya in Waris, says, "My father went repeatedly to the theatre to watch Suraiya sing Socha tha kya. He would walk out the moment the song ended."

Suraiya had an edge over her contemporaries Kamini Kaushal and Nargis because she could sing her own songs. The years 1948-49 were the best of her career - The 1948-49 phase saw her rise to her peak. After three hits Pyar Ki Jeet (1948), Badi Bahen and Dillagi (1949), she became the highest paid female star. At her peak, Suraiya generated hysteria comparable only to Rajesh Khanna in the late 1960s and early 1970s. Shop owners would down their shutters to see her starrers on the first day itself, crowds would throng outside her residence at Marine Drive in Bombay just to get a glimpse of her and actor Dharmendra recalls going to see Dillagi 40 times! Her songs from the above films Tere Nainon Ne Chori Kiya, O Door Jaanewaale (Pyar ki Jeet), Woh Paas Rahe Ya Door Rahe, O Likhnewaale Ne, Bigdi Bananewaale (Badi Bahen) and Tu Mera Chand, Murliwaale Murli Bajaa (Dillagi) were hummed in every nook and corner of the country. Her reign at the top was brief and her films started flopping in the 1950s. She made a comeback with Waaris and Mirza Ghalib (1954) in which she played the role of the married Ghalib's lover.She made a short-lived comeback with Waaris (1954) and Mirza Ghalib (1954). The latter saw her finest dramatic performance as she made alive and vivid the role of the married Ghalib's lover, a courtesan. Ghalib also saw some of her finest singing - Aah ko Chaihiye Ek Umar, Nuktacheen Hai Gham-e-Dil, Dil-e-Nadaan Tujhe Hua Kya Hai, Yeh Na Thi Humari Kismet etc. Her singing is till date regarded as the definitive Ghalib. In fact India's then Prime Minister Jawaharlal Nehru paid her the ultimate compliment by telling her " Tumne Mirza Ghalib ki Rooh ko Zinda Kar Diya" (she had brought Mirza Ghalib to life). In Nitin Bose's Waris (1954), Suraiya costarred with singing star Talat Mehmood (incidentally, she played heroine opposite another singer who tried to be an actor, Mukesh, in 1953's Mashuqa, too). With the sonorous melody, Rahi matwale, Anil Biswas and Suraiya proved their continuing relevance in a new age. Her last film was Rustom Sohrab (1963) following which she kept away from films. A spate of indifferent films followed. Suraiya had grew bulkier but her songs were still exquisite --- Aap se pyar hua jaata hai in Shama (1961), or the serene duet with Talat, Man dheere dheere gaye re in Maalik (1958). In 1963, to the strains of Yeh kaisi ajab dastaan ho gayee hai, the Sajjad jewel from Rustom Sohrab, Suraiya bade farewell to the studios. Suraiya Jamaal Sheikh's legend has endured for over four decades after her retirement post Rustom Sohrab (1963). It is fuelled by her one-time Dev Anand association, her repertoire of lilting songs and an air of mystique.

She stayed at "Krishna Mahal", her Marine Drive residence in Mumbai til her death. The walls and mirrors of Krishna Mahal flat on Marine Drive, are the only objects that set their eyes on this star of yesteryears. But she broke her self-imposed exile when she made a rare appearance at the Screen Videocon awards when Sunil Dutt presented her the Lifetime Achievement award. Radiant in a white salwar kameez she carried herself with the grace of a much younger woman.

The gentle sway of her hips spoke of her delicate style of dancing. The only thing that had remained completely unchanged was her voice. Tremulous with emotion, Suraiya's voice was choked with emotion when she took her award. She spoke of her long association with the film world and she was deeply touched that audiences still remembered her. But when Javed Jaffery pressed her to sing or just hum -- she refused. As a star shestill remembers the meaning of letting a legend live. Heroines are captured forever on the silver screen and the public's memory must never be updated.

Personal life

But her luck did not hold out in her personal life and Suraiya faced her biggestdisappointment. She first met Dev Anand in 1948, when she was just 19 years old. They were co-starring in the film Vidya and on the second day itself cupid struck. During the shooting of a song, a boat capsized and Dev Anand saved Suraiya from drowning. . And when he saved her from drowning during the filming of the song `Kinare Kinare Chale Jayenge', Suraiya was convinced that she had met her cosmic mate. She fell in love with him. Suraiya was romantically involved with actor Dev Anand and the two of them did six films together between 1948 and 1951. but her grandmother opposed the relationship. They were romantically linked and were all set to marry when her strict grandmother put her foot down and broke their relationship. She banned meeting, telephone calls and even talking on the sets. The entire affair was conducted in a clandestine manner with friends like Durga Khote and Kamini Kaushal going out of their way to engineer secret rendezvous. On the sets of the film Jeet, Dev Anand finally proposed to Suraiya and gave her a diamond ring worth Rs 3,000 -- a princely sum for a fledgling star. But even that memento was snatched away from her when her grandmother saw the ring and threw it away into the sea. She also burnt all of Dev Anand's letters in front of Suraiya's eyes. Her objection to the romance: (Dev Anand is a Hindu while Suraiya is a Muslim). A hunt for a Muslim husband began but marriagewas not in Suraiya's fate. In 1951, Dev Anand married Kalpana Kartik -- ending one of the silver screen's greatest romances. The heartbroken Suraiya never married though many leading men of her time were interested in her.Surraiya's idol was Gregory Peck and he visited her by surprise during a night of 1954 while in transit at Mumbai on his way to Srilanka for shooting. He was much impressed by her simplicity.Dev Anand molded himself in postures of Gregory Peck but after long awaiting he married Kaplna Kartak.Suraiya remained unmarried all her life.

Dev Anand accepts his love for Suraiya

the unmarried Suraiya lives alone in her plush Marine Drive apartment. Rarely does one see a bejewelled Suraiya at a party. Even after her strict grandmother, who kept suitors at bay and producers at arm's length, passed away, Suraiya continued to be inaccessible to the hoi polloi.

Her decision to reside in an ivory tower has added to her mystique, while her resolve to shun character roles ensured that she is always remembered as a heroine. Most quaintly, Suraiya also chose not to sing any new film song in the last 40 years.

Death

She died in 2004 of old age at 75. In 2004, during the Sansui Awards, actress Jaya Bhaduri received the Lifetime Achievement Award and while she was on stage, she was disappointed that no one gave a tribute to the legendary actress Suraiya who had passed right around that time.

Suraiya's dastaan, ajeeb but fascinating, continues to thrive on lore, speculation and memories.


http://en.wikipedia.org/wiki/Suraiya

http://www.chakpak.com/celebrity/suraiya/biography/8847

http://www.bollymood.com/biography/suraiya/

http://www.indianmelody.com/suraiyaarticle1.htm


Filmography

Actress:

* 1960s
* 1950s
* 1940s

1. Rustom Sohrab (1963) .... Shehzadi Tehmina
2. Shama (1961) .... Roshan Ara

3. Malik (1958)
4. Trolley Driver (1958)
5. Mr. Lambu (1956)
6. Inaam (1955)
7. Bilwamangal (1954)
8. Mirza Ghalib (1954) .... Chaudvin
9. Shama Parwana (1954) .... Sahebzadi Aalam
10. Waris (1954) .... Shobha ... aka Heir
11. Mashooka (1953)
12. Deewana (1952)
13. Goonj (1952)
14. Khubsurat (1952) ... aka Khubsoorat (India: Hindi title: alternative transliteration)
15. Lal Kunwar (1952)
16. Moti Mahal (1952)
17. Do Sitare (1951)
18. Rajput (1951)
19. Sanam (1951)
20. Afsar (1950) .... Bimala ... aka Officer
21. Badi Bahen (1950) ... aka Elder Sister
22. Dastan (1950) .... Indira
23. Kamal Ke Phool (1950)
24. Khiladi (1950)
25. Nili (1950)
26. Shaan (1950)
27. Jeet (1949) .... Jeet
28. Amar Kahani (1949)
29. Badi Bahen (1949)
30. Balam (1949)
31. Bombay (1949)
32. Char Din (1949)
33. Dillagi (1949) .... Heer ... aka Mischief (International: English title)
34. Duniya (1949)
35. Lekh (1949)
36. Naach (1949)
37. Shair (1949) .... Rani
38. Shayar (1949)
39. Singaar (1949)
40. Aaj Ki Raat (1948)
41. Gajre (1948)
42. Kajal (1948) ... aka Eyes (International: English title)
43. Pyaar Ki Jeet (1948)
44. Rang Mahal (1948)
45. Shakti (1948)
46. Vidya (1948) .... Vidya
47. Bhatakti Maina (1947)
48. Dak Bangla (1947)
49. Dard (1947)
50. Do Dil (1947)
51. Do Naina (1947)
52. Naatak (1947)
53. Parwana (1947) .... Gopi
54. 1857 (1946) ... aka Eighteen Fifty-Seven
55. Anmol Ghadi (1946) .... Basanti ... aka Precious Time
56. Chehra (1946)
57. Jag Biti (1946)
58. Main Kya Karun (1945)
59. Phool (1945)... aka The Flower
60. Tadbir (1945) .... Saguna
61. Hamari Baat (1943)
62. Ishara (1943)
63. Station Master (1942) .... Usha
64. Tamanna (1942)
65. Taj Mahal (1941) .... Child Mumtaz

Music Department:

* 1960s
* 1950s
* 1940s

1. Do Dil (1965) (playback singer)
2. Rustom Sohrab (1963) (playback singer)
3. Shama (1961) (playback singer)
4. Malik (1958) (playback singer)
5. Taqdeer (1958) (playback singer)
6. Trolley Driver (1958) (playback singer)
7. Mr. Lambu (1956) (playback singer)
8. Bilwamangal (1954) (playback singer)
9. Mirza Ghalib (1954) (playback singer)
10. Waris (1954) (playback singer)
... aka Heir
11. Mashooka (1953) (playback singer)
12. Deewana (1952) (playback singer)
13. Goonj (1952) (playback singer)
14. Khubsurat (1952) (playback singer)... aka Khubsoorat (India: Hindi title: alternative transliteration)
15. Lal Kunwar (1952) (playback singer)
16. Moti Mahal (1952) (playback singer)
17. Rajput (1951) (playback singer)
18. Sanam (1951) (playback singer)
19. Afsar (1950) (playback singer)... aka Officer
20. Badi Bahen (1950) (playback singer)... aka Elder Sister
21. Dastan (1950) (playback singer)
22. Kamal Ke Phool (1950) (playback singer)
23. Nili (1950) (playback singer)
24. Shaan (1950) (playback singer)
25. Jeet (1949) (playback singer)
26. Amar Kahani (1949) (playback singer)
27. Badi Bahen (1949) (playback singer)
28. Dillagi (1949) (playback singer)... aka Mischief (International: English title)
29. Duniya (1949) (playback singer)
30. Lekh (1949) (playback singer)
31. Naach (1949) (playback singer)
32. Shair (1949) (playback singer)
33. Singaar (1949) (playback singer)
34. Gajre (1948) (playback singer)
35. Rang Mahal (1948) (playback singer)
36. Shakti (1948) (playback singer)
37. Vidya (1948) (playback singer)
38. Dak Bangla (1947) (playback singer)
39. Dard (1947) (playback singer)
40. Do Dil (1947) (playback singer)
41. Naatak (1947) (playback singer)
42. Anmol Ghadi (1946) (playback singer)
... aka Precious Time
43. Jag Biti (1946) (playback singer)
44. Tadbir (1945) (playback singer)
45. Kanoon (1943) (playback singer)
... aka The Law (International: English title)
46. Sharda (1942) (playback singer)

Soundtrack:

1. Malik (1958) (performer: "Man Dhire Dhire Gaye Re Malum Nahin Kyon")
2. Mirza Ghalib (1954) (performer: "Dil-e-nadan Tujhe", "Aah Ko Chahiye Ek Umar",

"Nukta Cheen Hai", "Jahan Koi Na Ho", "Yeh Na Thi Hamari Qismat")

Producer:

1. Shagoon (1964) (producer) (as Suraiya Mubin)

Thanks:

1. Lorie (1984) (grateful acknowledgment)

songs of suraiyaji movie details n lyrics

1] Anmol Ghadi (1946) starring Amir Banu, Anwari, Leela Mishra, Murad, Noor Jehan, Suraiya, Surendra & Zahoor.
Lyrics composed by Tanvir Naqvi.
Music composed by Naushad Ali.
This movie had some very popular songs sung by Noor Jahan and Suraiya. Here are the Suraiya songs:

[1]mai dil mei dard basaa laayi

lyrics for mai dil mein dard basa laayi, nainon se nain mila aayi, unko apne man ki baatein bina kahe samjha aayi.

[2]man leta hai angdayi jawani chhayi

lyrics for man letaa hai a.Nga.Daaii, jIvan pe javAnI chhaaI.

lyrics in Hindi for man letaa hai a.Nga.Daaii, jIvan pe javAnI chhaaI.

[3]sochaa thaa kyaa, kyaa ho gayaa

lyrics for sochaa thaa kyaa kyaa ho gayaa. apnaa jise samjhe the hum afsos vo apnaa na thaa.

lyrics in Hindi for sochaa thaa kyaa kyaa ho gayaa. apnaa jise samjhe the hum afsos vo apnaa na thaa.

2] Badi Bahan (1949) starring Suraiya, Geeta Bali, Rehman & Pran.
Lyrics composed by Rajinder Krishan.
Music composed by Husnlal Bhagatram.

[1]tum mujhko bhool jaao ab hum na mil

[2]wo paas rahen yaa duur rahen nazron

lyrics for vo paas rahen yaa duur rahen nazaron me.n samaaye rahte hain. itnaa to bataa de koii hame.n, kyaa pyaar isii ko kahate hain.

lyrics in Hindi for vo paas rahen yaa duur rahen nazaron me.n samaaye rahte hain. itnaa to bataa de koii hame.n, kyaa pyaar isii ko kahate hain.

3] Bilwamangal (1954) starring Suraiya, Ulhas, Nirupa Roy & Asha Mathur.
Producer: Minal Movies
Director: D. N. Madhok
Lyrics: D. N. Madhok
Music Director: Bulo C. Rani

[1]hum ishq ke maaron ko do dil diye

[2]parwane se preet seekh li shamaa se

4] Dillagi (1949) starring Suraiya, Shyam, Amar, Amir Banu & Chanda Bai
Producer & Director: Kardar
Lyrics: Shakeel Badayuni
Music Director: Naushad

[1]char din ki thi chandni phir andher

[2]duniyaa kyaa jaane meraa afsaanaa

3]le ke dil chupke se kiyaa majboor

[4]murliwale murli bajaa sun sun murli

[5]niraalaa mohabbat kaa dastoor dekha

[6]tera khayaal dil se bhulaya na jaye

5] Gajre (1948) starring Suraiya, Agha, Geeta Nizami, Maruti, Moti Lal & Sangeeta
Director: RD Mathur
Lyrics: G. S. Nepali
Music Director: Anil Biswas

[1]duur papiha bola raat adhi rah gayi

[2]jalne ke siwaa yahaan kya rakha hai

[3]reh reh kar teraa chaand rulata hai

6] Goonj (1952) starring Suraiya, Suresh, Bhagwan, Madan Puri, Manju, Randhir, Ravikant & Sapru.
Lyrics composed by D. N. Madhok.
Music composed by Sardul Kwatra

[1]chale ja rahe ho jo nazren churaaye

[2]dil me umangen sajan nainon me rang

7] Jeet (1949) starring Suraiya, Dev Anand, Bhagwan, Durga Khote, Habib, Kanhaiya Lal & Madan Puri
Director: Mohan Sinha
Producer: Raj Kirti Chitra
Lyrics: Prem Dhawan
Music Director: Anil Biswas

[1]ban jao hindustani ab kaisi manmani

[2]kaam karo bhai jag me apna naam kar

[3]kuch phool khile armaano ke par jee

[4]tum mann kee peedaa kyaa jaano

[5]tum meet mere tum shyam mere yug ke

8] Mirza Ghalib (1954) starring Suraiya and Bharat Bhushan.
Music composed by Ghulam Mohammad.
The movie was about the legendary poet Mirza Ghalib and his poems have been sung here.

[1]aah ko chaahiye ek umar asar hone

[2]nuktachin hai gam-e-dil usko sunaye

[3]rahiye ab aisi jagah jaha koi na ho

[4]ye na thee hamaari kismat ki wisal

9] Mr. Lambu (1956) starring Suraiya, Minu Mumtaz, Helen, Bhagwan, N. A. Ansari & Sheikh Mukhtar
Director: NA Ansari
Producer : Sheikh Mukhtar Prod.
Lyrics: Jan Nisar Akhtar
Music Director: O. P. Nayyar

[1]yaad karun tori batiyaa ro ro bitau

10] Nayi Duniya (1942)starring Suraiya
Lyrics: Tanveer Naqvi
Music Director: Naushad Ali

[1]boot karun mai polish babu boot


11] Pyar Ki Jeet 1948) starring Suraiya & Rehman.
Lyrics composed by Rajinder Krishan.
Music composed by Husnlal Bhagatram.

[1]o duur jaanewaale wada na bhul jana

lyrics for o duur jaane vaale vaadaa na bhuul jaanaa. raate.n huI andherii tum chaa.Nd ban ke aanaa.

lyrics in Hindi for o duur jaane vaale vaadaa na bhuul jaanaa. raate.n huI andherii tum chaa.Nd ban ke aanaa.

[2]tere naino ne chori kiya mera chota

lyrics for tere naino.n ne chorI kiyA, morA chhoTA sA jiyA paradesiyA.

lyrics in Hindi for tere naino.n ne chorI kiyA, morA chhoTA sA jiyA paradesiyA.

[12] Rustom Sohrab (1963) starred Suraiya as the shehzadi. Prithviraj Kapoor portrayed her husband Rustom & Premnath portrayed her son Sohrab. Mumtaz was also in the movie.

This was Suraiya's last film. After this she retired.
Lyrics composed by Qamar Jalalabadi.
Music composed by Sajjad Hussain.

[1]ye kaisi ajab daastaan ho gayi hai

lyrics for ye kaisi ajab daastaan ho gayi hai, chhupaate chhupaate bayaan ho gayi hai.

13] Shaan (1950)starring Suraiya & Rehman
Lyrics: Rajinder Krishan
Music Director: Hansraj Behl

[1]o pardesi balma ab na tadpa o zalim

[2]tadap ai dil tadapne se zara aarsam

[3]kaho ji kis ki sachchi shaan
majboor hoon mai nashaad hoon mai

14] duets Suraiya sang with Mohammad Rafi in the movie Shaan:

[1]dil ke dhoke mei na aanaa

[2]hum bhee akele tum bhee akele

[3]hum tum se wafa karte tum hum se wafa karte

15] Shama (1961) starring Suraiya, Nimmi, Kumud Tripathi, Leela Mishra & Vijay Dutt
Producer : Tasweeristan
Director: Lekhraj Bhakri
Lyrics: Kaifi Azmi
Music Director: Ghulam Mohammed

[1]mast ankhon mei shararat kabhi aisi

16]Shama Parwana (1954)starring Suraiya & Shammi Kapoor.
Lyrics composed by Majrooh Sultanpuri.
Music composed by Husnlal Bhagatram.

[1]meraa dildaar naa milaayaa

[2]o jaan-e-tamannaa alvidaa alvidaa

17] Vidya (1948) starring Suraiya, Dev Anand, Amirbai Karnataki, Cuckoo & Madan Puri.
Director: G. Tridevi
Producer: Jeet Prod.
Music Director: S. D. Burman
Lyrics: Shanti Swaroop and Y. N. Joshi

[1]aaj meraa dil kisi pe aa gayaa

[2]jhoom rahi khushiyon ki naaow aaj

[3]kinare-2 chale jayenge jeewan naiya

[4]kise maalum tha 2 din me sawan beet

[5]o Krishna Kanhaai aashaon ki duniya

[6]laayi khushi ki duniyaa hanste hue

Suraiya was joined by Mukesh in the above song. One of the few duets they sang together.

18]Waris (1954) starring Suraiya, Talat Mahmood and Nadira.
Lyrics: Qamar Jalalabadi
Music Director: Anil Biswas

Suraiya and Talat Mahmood sang the songs both on and off screen. Please note that the duet version of this song is more popular and can be found at the Suraiya and Talat Mahmood duets page by using the following link.

[1]raahi matwaale tuu aa jaa ek baar

19] Dard (1947) starring Suraiya, Shyam, Badri Prasad, Husn Bano, Munawar Sultana & Nusrat.
Lyrics composed by Shakeel Badayuni.
Music composed by Naushad.

[1]beech bhanvar mei aan phasa hai dil

lyrics for beech bhanvar mein aan phansa hai dil ka safeena shaah-e-madeenaa

[2]chale dil ki duniya jo barbad karke

[3]dil dhadke aankh mori phadke

lyrics for dil dhadke aankh mori phadke. chale jaana na dekho ji bichhad ke.

20] Dastan (1950)starring Suraiya, Raj Kapoor, Murad, Pratima Devi & Veena.
Lyrics composed by Shakeel Badayuni.
Music composed by Naushad.

[1]aayaa mere dil mei tu ban ke dil ki

[2]ai shamma tu bata tera parwana kaun

The song 'ai shamma tu bata tera parwana kaun hai' is preceded by some dialogues. Raj Kapoor's voice seems to be heard here.

[3]mohabbat badhaa ke judaa ho gaye

[4]naam tera hai zubaan par yaad teri

[5]naino mei preet hai hothon pe geet

[6]ye mausam aur ye tanhaai

21]Maalik (1958) starring Talat Mehmood & Suraiya.
Lyrics composed by Shakeel Badayuni.
Music composed by Ghulam Mohammad.
Suraiya and Talat Mehmood sang the song and it was also filmed on them.

[1]mann dhire gaye re malum nahin kyon

lyrics for man dheere dheere gaaye re, maaloom nahi kyon. bin gaaye raha na jaaye re, maaloom nahi kyon.

22] Mirza Ghalib (1954) starring Suraiya and Bharat Bhushan.
Lyrics were composed by Mirza Ghalib in late 18th century.
Music composed by Ghulam Mohammad.
Suraiya sang her own songs and Talat Mehmood was playback singer for Bharat Bhushan.

[1]dil-e-nadan tujhe hua kya hai akhir

lyrics for dil-e-naadaa.n tujhe huaa kyaa hai. aakhir is dard kii davaa kyaa hai

lyrics in Hindi for dil-e-naadaa.n tujhe huaa kyaa hai. aakhir is dard kii davaa kyaa hai

23] Waaris (1954) starring Talat Mehmood With Suraiya & Nadira.
Lyrics composed by Qamar Jalalabadi.
Music composed by Anil Biswas.
There was no playback singing since both Talat Mehmood & Suraiya sang for themselves.

[1]duur hote nahi jo dil me raha karte

[2]ghar tera apna ghar lage jaye kahan

[3]raahi matwaale tu ched ek baar mann

lyrics for raahii matavaale, tuu chhe.D ik baar, man kaa sitaar. jaane kab chorii-chorii aaii hai bahaar chhe.D man kaa sitaar.

lyrics in Hindi for raahii matavaale, tuu chhe.D ik baar, man kaa sitaar. jaane kab chorii-chorii aaii hai bahaar chhe.D man kaa sitaar.

[url=http://suraiya-songs.tripod.com/]http://suraiya-songs.tripod.com/

This post has been edited by rashmi mehta: Jun 1 2011, 08:24 AM

[rashmi mehta]

Madhubala

Madhubala (Hindi: मध�बाला, Urdu: مدھو بالا) (February 14, 1933 �" February 23, 1969), is considered one of the most beautiful actresses to have graced the screens of Bollywood.

Madhubala was born as Mumtaz Jehan Begum Dehlavi in Delhi as the 5th child into a poor, conservative Pashtun Muslim family of 11 children. Mumtaz Begum Jehan Dehlavi, was a popular Hindi film actress who starred in several successful films in the 1950s and early 1960s, many of which have achieved classic and cult status today. With her contemporaries, Nargis and Meena Kumari, she is widely regarded as one of the most talented and influential actresses to have appeared on the screens of Hindi Cinema.

Mumtaz Begum Jehan Dehlavi, famously known as Madhubala, was born in Delhi, India on February 14, 1933. She was Muslim, the fifth child of a conservative family of eleven children.

After Madhubala's father, Ataullah Khan lost his job at the Imperial Tobacco Company, the family endured many hardships including the deaths of four of Madhubala's sisters and her two brothers. Madhubala and four other sisters remained. A Muslim Holy Man is said to have predicted that the young Mumtaz would earn fame and fortune but would lead an unhappy life and die at a young age. Madhubala, with literal meaning of her name being damsel of honey has continued to be considered with utmost admiration, with multiple generation of Hindi movie goers even today. Her father, Ataullah Khan was a coachman in Dehli, who migrated to Bombay remembering the holy man's words and also in search for a better livelihood. In search of a better life for his impoverished family, her father relocated them to Mumbai. There they struggled for over a year and often frequented the Mumbai film studios in search of work. Young Mumtaz entered films at the age of nine.

Her first film was the box-office success, Basant (1942) in which she played the daughter of the popular actress, Mumtaz Shanti. She then went on to act in several films as a child artist. It was the celebrated actress, Devika Rani, impressed by her performances and potential, who advised her to change her name to Madhubala. Her talent was clearly evident and she soon garnered a reputation as a reliable and professional performer. By the time she was an adolescent, her uncommon good looks and tall, lissome figure, meant she was already being groomed for lead roles.

Her first break came when filmmaker, Kidar Sharma cast her opposite Raj Kapoor in Neel Kamal (1947). Until that point, she had always been billed as Mumtaz but after this film she was credited as Madhubala. She was only fourteen years old, but Madhubala had finally arrived on the Indian screen in a lead role. Though the film was not a commercial success, she was noticed and her performance well received.

In the next two years she blossomed into a captivating beauty (film media and fans referred to her as the Venus of the Screen). However it was not until she starred in the coveted lead role of Bombay Talkies production, Mahal in 1949, that Madhubala became a fully fledged star and a household name. Audiences enthused over Madhubala's enigmatic screen presence and beauty. Though she was only sixteen at the time, critics widley acknowledged that her subtle and skillful performance upstaged her seasoned co-star, Ashok Kumar. The film became a popular success and the song Aayega Aanewala heralded the arrival of two new superstars both Madhubala and playback singer Lata Mangeshkar.

In the early 1950s as Madhubala became one of the most sought-after actresses in India, she also attracted interest from Hollywood. She appeared in many American magazines such as Theatre Arts. In their August 1952 issue, Madhubala was featured in an extensive article with a full page photo. The piece was entitled: The Biggest Star in the World (And She's Not in Beverly Hills). It presented the actress as a mysterious and ethereal woman of mythical beauty with a legion of fans.

During this period, on a trip to Mumbai and its film studios, the American filmmaker Frank Capra was pampered and hosted by the elite of the Hindi movie industry. However the one star he really wanted to meet was conspicuous by her absence, Madhubala. A meeting to discuss an opening for Madhubala in Hollywood was proposed by Capra. Madhubala's father declined and put an emphatic end to her potential Hollywood film career.

Madhubala had many successful films following Mahal. With pressure to secure herself and her family financially, she acted in as many as twenty-four films in the first four years of her adult career. Consequently, critics of the time commented that Madhubala's beauty was greater than her acting ability. This was in part due to careless choices in film roles. As sole support of her family, she accepted work in any film, causing her credibility as a dramatic actress to be seriously compromised. Something she later expressed regret over.

Many other hits followed Mahal with a spate of films opposite the leading men of the day- Ashok Kumar, Rehman, Dilip Kumar, and Dev Anand, but by the mid-1950s, some of her films flopped. But she silenced her critics in 1958, when four of her films turned out to be superhits - Phagun opposite Bharat Bhushan, Howrah Bridge opposite Ashok Kumar, Kala Pani opposite Dev Anand and Chalti ka Naam Gaadi opposite her husband-to-be, Kishore Kumar.

Critics said that Madhubala's beauty was greater than her acting ability, but this was in part due to unwise choices on her part and on that of her father, who was her manager. She was the sole support of a large and desperately poor family, and seemed to take on any role she could get, even if her credibility as a serious actress was compromised.

Madhubala was proposed by three men and turned to Nargis who was a close friend for advice. Nargis suggested that Bharat Bhushan would respect her as he was a widower whereas Pradeep Kumar and Kishore Kumar were already married. However she had already made up her mind on Kishore Kumar as he was like a breath of fresh air in her life.

She accepted as he was the first man who came into her life on the rebound whilst shooting Chalti Ka Naam Gadi and Jhumroo. Her father had informed Kishore that Madhubala would be flying to London for a complicated operation and he could marry her on her return but Kishore knew she wanted to get married before she died and he wanted to fulfill her desire.

They had a civil ceremony . His parents refused to attend the wedding and never really accepted Madhubala as they thought she had broken their sons marriage. When Madhubala went to touch her father-in-law's feet he moved away. Madhubala and Kishore also had a Hindu ceremony to please his parents but they were still not happy. This was all in 1960, the year they were married.

She did have aspirations to appear in more prestigious films with challenging roles. Bimal Roy's Biraj Bahu (1954) being a case in point. Madhubala having read the novel, was desperate to secure the lead in the film adaptation. Assuming she would command her market price (one of the highest), Bimal Roy passed her over in favour of a then, struggling Kamini Kaushal. When Madhubala learned that this was a factor in her losing the part, she lamented the fact that she would have performed in the film for a fee of one rupee. Such was her desire to improve her image as a serious actress.

As a star, Madhubala did ascend to the top of the industry. Her co-stars at the time were the most poular of the period: Ashok Kumar, Raj Kapoor, Rehman, Pradeep Kumar, Shammi Kapoor, Dilip Kumar, Sunil Dutt and Dev Anand. Madhubala also appeared alongside many notable leading ladies of the time including Kamini Kaushal, Suraiya, Geeta Bali, Nalini Jaywant and Nimmi. The directors she worked with were amongst the most prolific and respected: Mehboob Khan (Amar), Guru Dutt (Mr & Mrs 55), Kamal Amrohi (Mahal) and K. Asif (Mughal-E-Azam) . She also ventured into production and made the film Naata (1955) which she also acted in.

During the 1950s, Madhubala proved herself a versatile performer in starring roles, in almost every genre of film being made at the time. She was the archetypal lady fair in the popular swashbuckler, Badal (1951) and was next seen as an uninhibitted village belle in Tarana (1951). She was convincing as the traditional ideal of Indian womanhood in Sangdil (1952) and was well received in a comic performance as the spoilt heiress, Anita in Guru Dutt's classic satire Mr. and Mrs. 55 (1955). In 1956 she had success in historical costume dramas such as Shirin-Farhad and Raj-Hath. Equally successful in contemporary characterizations, she was memorable in a double role in the social film Kal Hamara Hai (1959). Madhubala played the cigarette smoking dancer Bella, and her more conventional saintly sister Madhu.

Suddenly in the mid-1950s her films, even major ones like Mehboob Khan's Amar (1954), fared so badly commercially that she was labelled "Box Office Poison". She turned her career around in 1958, with a string of hit films: Howrah Bridge opposite Ashok Kumar featured Madhubala in the unusual role of an Anglo-Indian Cabaret singer, embroiled in Calcutta's Chinatown underworld. She made a big impact with a daring (for the time) Westernized image, with her cascading locks, deep cut blouses, fitted Capri pants and tailored Chinese dresses. Madhubala's sensuous torch song from the film, Aye Meherebaan, dubbed by Asha Bhosle, was a popular hit with audiences, and is widely quoted and celebrated to this day. Howrah Bridge was followed by Phagun opposite Bharat Bhushan, Kala Pani opposite Dev Anand, the perennial hit Chalti Ka Naam Gaadi opposite her husband-to-be, Kishore Kumar and Barsaat Ki Raat (1960), opposite Bharat Bhushan again.

In 1960, she consolidated these successes, and her super-star status when she went on to appear in the epic mega-budget historical, Mughal-E-Azam. This film is widley perceived to be the crowning glory of her career and perhaps the decade of filmmaking in India.

It was the film Mughal-e-Azam that marked what many consider to be her greatest and definitive characterization as the doomed courtesan Anarkali. Director K. Asif, unaware of the extent of Madhubala's illness, required long and grueling shooting schedules that made heavy physical demands on her. Whether it was posing as a veiled statue in suffocating make-up for hours under the sweltering studio lights or being shackled with heavy chains. From 1951 through to 1959 Madhubala invested her best efforts into Mughal-e-Azam. Post 1956 and her separation from Dilip Kumar, the film's remaining intimate romantic scenes were filmed under much tension and strain between Madhubala and her now estranged co-star. This emotionally and physically taxing experience is widely perceived as a major factor in her subsequent decline in health and premature death.

On August 5, 1960, Mughal-e-Azam released and became the biggest grossing film at that time, a record that went unbroken for 15 years until the release of the film Sholay in 1975. It still ranks second in the list of all time box-office hits of Indian cinema (inflation adjusted). Despite performing alongside the most respected acting talent of the industry, Prithviraj Kapoor, Durga Khote, and Dilip Kumar, critics recognised and appreciated Madhubala's intelligent and multi layered performance. She received some recognition as a serious actress when she was nominated for a Filmfare Award. However she did not win, losing out to Bina Rai for her performance in the film Ghunghat (1960). In Khatija Akbar's biography on Madhubala (see reference section), Dilip Kumar paid tribute to her talent: "Had she lived, and had she selected her films with more care, she would have been far superior to her contemporaries. Apart from being very versatile and an excellent artiste, she had a warm and cheerful nature. God had gifted her with so many things..."

In 1960, Madhubala hit the peak of her career and popularity with the release of back-to-back blockbusters Mughal E Azam and Barsaat Ki Raat.

In 1960, it was Mughal-e-Azam that marked one of her greatest performances as the doomed courtesan Anarkali Wali. Sadly, being plagued with a persistent heart disease, she was confined to bed for the last nine years of her life. She did have the odd release in this period like Passport (1961), Jhumroo (1961), Boy Friend (1961), Half Ticket (1962) and Sharabi (1964), but they were mostly old films that managed to limp towards release but above average at the box-office.

However, most of her other films issued in this period were marred by her absence in later portions when her illness prevented her from completing them. They suffer from compromised editing and in some cases the use of "doubles" in an attempt to patch in scenes that Madhubala was unable to shoot.

She was offered strong, author-backed roles, but her deteriorating health did not permit her to enjoy this period and develop as an actress. At this point Madhubala became so ill that she could not accept any new films or even complete her existing assignments. In the biography by Khatija Akbar, her frequent co-star Dev Anand recalled: "She was so robust and full of life and energy. She was always laughing and enjoyed her work.

One could never conceive she was seriously ill. Then one day out of the blue she just disappeared...".

Her last released film Jwala, although filmed in the late 1950s, was not issued until 1971, two years after her death. Incidentally, apart from some Technicolor sequences in Mughal-e-Azam, Jwala is the only time Madhubala appeared in a colour film.

Madhubala's heart problem was discovered in 1950 after she frequently coughed up blood on the sets. She was born with a cardiac defect commonly known as a "hole in the heart". At the time, heart surgery was not widely available.

Her illness was kept a secret from the industry for many years, though one incident was widely reported by the film media in 1954. Madhubala was filming in Madras for S.S. Vassan's film Bahut Din Huwe. She became very ill and vomited blood on the set. Vassan and his wife were very hospitable and cared for her until she was well again. Madhubala was extremely grateful and as a result broke her own rule of never attending film premieres, even her own, by making an exception for Bahut Din Huwe (1954) and the following year, another Vassan production, Insaniyat (1955). The incident in Madras was down-played and soon forgotten, enabling Madhubala to continue working and to establish herself as an A-grade star.

In 1960, Madhubala sought treatment in London as her condition deteriorated. Complicated heart surgery was in its infancy and offered her some hope of a cure. After an examination the doctors there refused to operate, convinced her chances of surviving the procedure were minimal[citation needed]. Their advice was that she should rest and avoid overexertion, and predicted that she could live for another year. Knowing her death was imminent, Madhubala returned to India, but defied the predictions by living for another 9 years.

In 1966, with a slight improvement in her health, Madhubala tried working again opposite Raj Kapoor in the film Chalack. Film media heralded her "comeback" with much fanfare and publicity. Stills from this time showed a still beautiful but pale and wan-looking Madhubala. However, within a few days of filming, her frail health caused her to collapse and the film remained incomplete and unreleased.

When acting was clearly no longer an option, Madhubala turned her attention to film making. In 1969 she was set to make her directorial debut with a film named Farz aur Ishq. However the film was never made, as during the pre production stages, Madhubala finally succumbed to her illness and died on February 23rd, 1969, shortly after her 36th birthday. She was buried at Santa Cruz Cemetery by her family and husband Kishore Kumar.

In her short life, Madhubala made over 70 films. She is often compared with Marilyn Monroe and has a similar position in Indian film history. Perhaps because she died before being relegated to supporting or character roles, to this day Madhubala remains one of the most enduring and celebrated legends of Indian cinema. Her continuing appeal to film fans was underlined in a 1990 poll conducted by Movie magazine, when Madhubala was voted the most popular Hindi actress of all time, garnering 58% of the votes.

I consider her similar to Geeta Bali in this manner who also died as early as 35 and did similar number of movies. Both were known for their beauty, acting and energy.

Why Dilip Kumar never married Madhubala::Bollywood Vintage love

the gorgeous Madhubala was immortalised when the Indian government released a stamp in her name. We spoke to her youngest sister, Madhur Bhushan, who gave us a closer insight into Madhubala's life, her romance with Dilip Kumar, her unhappy marriage to Kishore kumar, and her illness. Madhur, whose real name is Zahida, is nine years younger than Madhubala. Out of 10 children, she is one of the four still alive. Over to Madhur:

On Madhubala's entry into films

My father, Ataullah Khan, 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. We called her Mazliappa, as she was the fifth child. My 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.

'Madhubala was not ready to believe that she was sick' On Madhubala's illness

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.

'Madhubala's father never allowed her to attend movie premieres' On her family

People say that my family knew she was ill but we did not treat her; that we hid this fact from producers to get work. But there was no technology back then to check whether she had a hole in a heart, so how would any of us know? We came to know only in 1957. After three years, she went to London for treatment. But it was too late. Madhubala died after nine years.

Everybody blamed my father. But he was protective about his daughters since his sons had died at the ages of five and six. He was an uneducated man but he was like Madhubala's manager. He took care of her work but never interfered on what films she should take up. He never allowed Madhubala to attend movie premieres because he felt overexposure would kill her career. He always wanted fans to crave for her.

In the picture: Bharat Bhushan and Madhubala in a still from Barsaat Ki Raat.

'She loved Dilipsaab till the day she died' 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.

'Kishore Kumar was not a good husband' On Madhubala's marriage to 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 Dilipsaab. 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. He was not a good husband.

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.

Madhubala the indian icon

When she was a success, she was referred as the Venus Queen but when she was unsuccessful, she was called box office poison.

Later in her teenage years Devika Rani renamed her Madhubala

. In 1949 the movie which made her box office success was Mahal, at the age of sixteen Madhubala became a star.

On the sets of Tarana, Madhubala met and fell in love with co star Dilip Kumar. Madhubala sent a rose with a note to Dilip Kumar dressing room telling him to accept it if he loved her. Dilip Kumar quite amused with the gesture accepted the rose, unaware that Madhubala had already done this with another co star on the sets of her film Badal. At the time Madhubala was young and nave and was easily falling in love with her co-stars or directors, namely Kamal Amrohi the director of Mahal. However Madhubala was madly in love with Dilip Kumar, she had become so smitten by him that she totally forgot about her other love interests.

Unfortunately for Madhubala, Dilip Kumar and Premnath her co star in Badal worked in a film together and they learnt of Madhubala deception. Premnath quickly stepped away from the relationship giving Dilip Kumar and Madhubala a chance to continue their courtship. Dilip Kumar and Madhubala had a seven year courtship and in the time they made four movies together including the unforgettable Mughal E Azam. Their relationship ended abruptly when Madhubala father refused for Madhubala to go to outdoor shooting for the movie Naya Daur. The director therefore dropped Madhubala and asked another actress to take the role.

Madhubala father became angry that his daughter had suddenly gotten kicked off the movie that he threatened to sue the director, the director then counter sued and the matter ended up in court where Dilip Kumar testified against Madhubala. In court when being questioned Dilip Kumar declared his love for Madhubala.

Including the court case and other matters Dilip Kumar and Madhubala relationship ended abruptly. There was also the matter of Madhubala father, the possessive and arrogant man didn't want Madhubala to get married to Dilip Kumar as she was a sole earner of the family and if she left, she would take her income with her.

Even though their relationship had ended they still had to work together as Mughal E- Azam wasn't completed yet. In the period they worked together in Mughal E- Azam Dilip Kumar did not utter a word to Madhubala and the only words he said to her was the words of Salim. There was scene in the movie were Salim slapped Anarkali across the face, Dilip Kumar did this with such force that tears came to Madhubala eyes. Madhubala couldn't cope and put all her sorrows into the movie, Madhubala had now become like her character Anarkali, the father separating the two lovers but in this case it was Madhubala father playing Akbar and not letting his daughter seek happiness.

Whilst making Jhumroo and Chalti ka naam ghadi Madhubala met Kishore Kumar her future husband. Madhubala was proposed by three men, but she chose to marry Kishore Kumar an already married man. Madhubala chose to marry Kishore Kumar because she met him on the rebound from her break up from Dilip Kumar. Kishore Kumar was breath of fresh air after the bitter relationship with Dilip Kumar. After Kishore Kumar divorced his first wife in 1958 he married Madhubala, Kishore Kumar converted to Islam. Kishore Kumar parents weren't too happy about the marriage and refused to accept Madhubala as a daughter in law.

To please them, Madhubala and Kishore Kumar had Hindu wedding ceremony but to no avail, they were still stubborn.

Kishore Kumar loved Madhubala but he was not a decent husband, Kishore Kumar married Madhubala because he thought she could help him financially. The only reason Kishore Kumar signed Chalti Ka naam Ghadi because he thought it would flop at the box office and he would be relieved from paying tax. At the time of their marriage Kishore Kumar wasn't financially secure and wished Madhubala would help him out. Of course Madhubala only used her money on her family and didn't help Kishore Kumar but after the success of Chalti ka naam ghadi Kishore Kumar didn't need any money of Madhubala.

In 1960 Mughal E Azam was finally finished, after working on it for ten years Madhubala finally completed the five hour movie which had become a classic in the Indian cinema. Even though she portrayed the tragedian Anarkali with such convection Madhubala didn't receive the filmfare award that she deserved.

By the 1960 Madhubala's health had deteriorated and she had to step down from making any more movies of course she had the odd releases in the 60's but they were mostly old movies that were finally released. Such movies as half ticket with Kishore Kumar, Sharabi and passport and her last movie was Jwala with Sunil dutt, this was the only colour movie that she made in her lifetime. Well Mughal E Azam was coloured after she had gone.

In her last days on this earth Madhubala was confined to her bed, she had odd visits from friends and family's but no one wanted to know about her anymore. When she was famous and in the lime time, everyone was falling to her feet but when she was dying no one was there not even her husband.

Madhubala tried making a comeback in a movie with Raj Kapoor but on the very first day she collapsed on the set and the movie was shelved. She also tried filmmaking but she never had the chance to fulfil her desire. Madhubala died on the 23rd of February 1969 on a Sunday morning nine days after her 36th birthday. The day before her death Madhubala expressed her feelings to see Dilip Kumar but he did not come. Madhubala was buried at Santacruz burial ground with her diary, Dilip Kumar did not attend the funeral, and it is not known if he was invited.

Madhubala has more fans now then she did when she was alive, from old people who remember watching her movies when they were young and youngster who after watching Mughal E Azam have become fascinated with the beautiful Anarkali and the actress Madhubala. Her young fans are dedicating videos on utube and making tribute videos in her memory. Madhubala has more video dedicated to her on utube then any thespian in the movie industry. Just recently on 18th March 2008 a stamp was produced by the Indian post featuring pictures of Madhubala, the only actors to be given this honour was Nargis, Guru Dutt and Kishore Kumar.

Madhubala will remain an icon around the globe for many years to come, as she is gaining fans everyday. After the re- release of Mughal E Azam in colour youngster were able to appreciate Madhubala in colour and become mesmerised in her beauty and talent. None of the actress today compare to Madhubala and the only other actress that could be closely compared to her is Madhuri Dixit and yet Madhuri Dixit still misses something.

May she rest in peace, the wonderful, talented, beautiful and the one and only Madhubala.

http://www.iloveindia.com/indian-heroes/madhubala.html

http://www.imdb.com/name/nm0534870/bio

http://www.imdb.com/name/nm0534870/

http://www.4to40.com/legends/index.asp?id=838

http://en.wikipedia.org/wiki/Madhubala

http://www.bollymood.com/biography/madhubala/

http://www.helium.com/items/1133698-madhubala

This post has been edited by rashmi mehta: May 7 2011, 09:21 PM