Madhubala

Madhubala (born Mumtaz Jehan Begum

Dehlavi; 14 February 1933 – 23 February
1969) was a popular Indian Hindi film
actress who appeared in classic films of
Hindi cinema.[1][2] She was active
between 1942-1964.[3] Highly regarded
as The Venus of Indian Cinema and
Beauty with Tragedy, Madhubala was
compared with American actress Marilyn
Monroe. [4][5]
 Madhubala

Madhubala in Dulari (1949)

Born Mumtaz Jehan Begum

Dehlavi
14 February 1933
Peshawar, Khyber
Pakhtunkhwa (now in
Swabi District,
Pakistan)

Died 23 February 1969

(aged 36)
Mumbai, Maharashtra,
India
Cause of death Ventricular septal
defect

Burial place Santacruz Muslim

Cemetery, Mumbai,
Maharashtra

Residence Carter Road, Bandra,

Mumbai

Nationality India

Other names Baby Mumtaz (as child

artist), Madhu, Beauty
with Tragedy, Anarkali
of Hindi Cinema,
Marilyn Monroe of
Bollywood, Venus of
Indian Cinema

Citizenship Indian

Occupation Actress, Producer

Years active 1942–1964
Notable work Mahal (1949) ·
Dulari (film) (1949) ·
Amar (1954) ·
Beqasoor (1950) ·
Tarana (1951) ·
Mr. & Mrs. '55 (1955) ·
Kala Pani (1958) ·
Howrah Bridge (film)
(1958) ·
Chalti Ka Naam Gaadi
(1958) ·
Barsaat Ki Raat (1960)
·
Mughal-e-Azam (1960)
Spouse(s) Kishore Kumar
(m. 1960)

Parent(s) Ayesha Begum ·

Ataullah Khan
In a career spanning 22 years, she
appeared in around 74 films of variety of
genres. She was nominated for a
Filmfare Award in 1960 for her
performance in "Mughal-e-Azam"(1960).
In 1951, she also caught the interest of
Hollywood when ace photographer
James Burke visited India and
photographed her for Life Magazine. In
its feature, Life magazine called her "the
biggest star" in the international film
industry. Mahubala started working from
the age of nine. In her first film Basant,
she was credited as Baby Mumtaz.

Madhubala received wide recognition for

her performances in films such as Mahal
(1949), Amar (1954), Mr. & Mrs. '55
(1955), Chalti Ka Naam Gaadi (1958),
Mughal-e-Azam (1960) and Barsaat Ki
Raat (1960). Madhubala's performance in
Mughal-e-Azam established her as an
iconic actress of Hindi Cinema. Her last
film Jwala, although shot in the 1950s,
was released in 1971.

She married actor Kishore Kumar in 1960

with whom she had worked in hit films
like Dhake Ki Malmal (1956), Chalti Ka
Naam Gaadi (1958), Jhumroo (1961),
Half Ticket (1962). They were married
couples for nine years till she died on 23
February 1969 shortly after she turned
36.
Early life
Madhubala was born on February 14,
1933 as Mumtaz Jehan Begum Dehlavi.
Her father, Attaullah Khan was a Yusufzai
Pasthun from the old Peshawar valley,
which includes the present-day regions
of Mardan and Swabi which are in
Pakistan.[6] He relocated the family to
Delhi and then Bombay after he lost his
job at the Imperial Tobacco Company in
Peshawar. The family endured many
hardships. Madhubala's three sisters and
two brothers died at the ages of five and
six. The dock explosion and fire of 14
April 1944 wiped out their small home.
The family survived only because they
had gone to see a film at a local
theater.[7]

With his six remaining daughters to

provide for, Khan, and the young
Madhubala began to pay frequent visits
to Bombay film studios to look for work.
At the age of 9, this was Madhubala's
introduction to the movie industry, which
would provide financial help to her
family.[8] Madhubala learned driving at
the age of twelve and liked to drive long
sometimes.

Early career
Madhubala as a child artist in Basant (1942).

Madhubala's first movie Basant (1942),

was a box office success. She acted as
the daughter to the character played by
actress Mumtaz Shanti and was credited
as Baby Mumtaz in the film.[9] A nine year
old Madhubala, then a child artist often
tottered around various studios of
Bombay in search of work and made
several friends there. Around the same
time, another child artist Baby Mahajbeen
also visited these studios and was
known to Madhubala. This Baby
Mahjabeen later on, became one of the
most sought after stars and one of her
contemporaries – Meena Kumari.[10]
Madhubala was a fan of Meena Kumari
and said: "She has the most unique
voice. No other heroine has it".[11]
Actress Devika Rani was impressed by
her performance and potential, and
advised her to assume the screen name
"Madhubala", literally meaning "honey
belle".[12] Her first lead role, at the age of
14, was with producer Kidar Sharma
when he cast her opposite Raj Kapoor in
Neel Kamal (1947).[9] This was the last
film in which she was credited as
Mumtaz before assuming her screen
name "Madhubala". She achieved
stardom and popularity in 1949 when she
was cast as the lead in Bombay Talkies's
Mahal – a role intended for well-known
star Suraiya. Madhubala, with
established actresses, screen-tested for
the role before she was selected by the
film's director Kamal Amrohi. The film
was the third largest hit at the 1949
Indian box office. Following the success
of Mahal, Madhubala appeared in the box
office hits Dulari (1949), Beqasoor (1950),
Tarana (1951) and Badal (1951).

Hollywood interest
In the early 1950s, as Madhubala
became one of the most sought-after
actresses in India, she attracted interest
from Hollywood. She appeared in the
American magazine Theatre Arts where,
in its August 1952 issue, she was
featured in an article with a full page
photograph under the title: "The Biggest
Star in the World – and she's not in
Beverly Hills". The article described
Madhubala's immense popularity in India,
and explored her wide appeal and large
fan base. It also speculated on her
potential for international success.[7]
Academy Award winner American
director Frank Capra, while visiting
Bombay for International Film Festival of
India, was keen to give her a break in
Hollywood, but her father Ataullah Khan
declined this offer.[13]

Stardom

Portrait of Madhubala in 1949

Madhubala's co-stars Ashok Kumar, Raj

Kapoor, Rehman, Pradeep Kumar,
Shammi Kapoor, Dilip Kumar, Sunil Dutt
and Dev Anand were the most popular of
the period. She also appeared with
Kamini Kaushal, Suraiya, Geeta Bali,
Nalini Jaywant, Shyama and Nimmi,
notable leading ladies. The directors she
worked with, Mehboob Khan (Amar),
Guru Dutt (Mr. & Mrs. '55), Kamal Amrohi
(Mahal) and K. Asif (Mughal-e-Azam),
were amongst the most prolific and
respected. Madhubala also became a
producer and produced films like Naata
(1955) and Mahlon Ke Khwab (1960) and
acted in both the films.[14]

During the 1950s, Madhubala took

starring roles in almost every genre of
film being made at the time. Her 1950
film Hanste Aansoo was the first ever
Hindi film to get an "A" – adults only –
rating from the Central Board of Film
Certification.[15] She was the archetypal
fair lady in the swashbuckler Badal
(1951), and following this, an uninhibited
village beauty in Tarana (1951). She
played the traditional ideal of Indian
womanhood in Sangdil (1952), and
produced a comic performance as the
spoilt heiress Anita, in Guru Dutt's satire
Mr. & Mrs. '55 (1955). She also acted in
costume dramas such as Shirin-Farhad
(1956), Raj-Hath (1956), and played a
double role in the social drama Kal
Hamara Hai (1959). In the mid-1950s, her
films including the major ones such as
Mehboob Khan's Amar (1954) did not do
well commercially.[16] However, she
bounced back between 1958 and 1960
and starred in a series of hit films which
included Howrah Bridge opposite Ashok
Kumar, Kala Pani opposite Dev Anand,
Chalti Ka Naam Gaadi opposite Kishore
Kumar, Phagun and Barsaat Ki Raat both
opposite Bharat Bhushan. In Howrah
Bridge, she played the role of an Anglo-
Indian Cabaret singer involved in
Calcutta's Chinatown underworld. In the
song "Aaiye Meherebaan" from this film,
she lip-synced a torch song dubbed by
Asha Bhosle which has remained popular
to this day. It was in 1960, when she
appeared in the magnum opus Mughal-e-
Azam.
Madhubala acted in as many as seventy
films from 1947 to 1964, but only fifteen
of which were box office successes. She
was compared with the Hollywood
actress Marilyn Monroe after some of
her movies were super hit in box office.
Many senior actors praised Madhubala's
acting skills.[16] Dilip Kumar regrets that
"had she lived, and had she selected her
films with more care, she would have
been far superior to her
contemporaries..."[17] Kumar also points
out that "actresses those days faced a lot
of difficulties and constraints in their
career. Unable to assert themselves too
much, they fell back on their families who
became their caretakers and defined
everything for them."[18]

Mughal-e-Azam and later

work
It was the film Mughal-e-Azam that
marked what many consider to be
Madhubala's greatest and definitive
characterization, as the doomed
courtesan Anarkali. Although the film
took nine years to complete, it was not
until 1953 that Madhubala was finally
chosen for the role. Bunny Reuben in his
book Dilip Kumar: Star Legend of Indian
Cinema claimed that Dilip Kumar's role
was instrumental behind this
selection.[19] Mughal-e-Azam gave
Madhubala the opportunity of fulfilling
herself totally as an actress, for it was a
role that all actresses dreamt of playing,
as Nimmi acknowledges that "as an
actress, one gets a lot of roles, there is
no shortage of them, but there isn’t
always good scope for acting. With
Mughal-e-Azam, Madhubala showed the
world just what she could do."[20]

However, by the late 1950s, her health

was deteriorating rapidly, and director K.
Asif, probably unaware of the extent of
Madhubala's illness, required long
shooting schedules that made physical
demands on her, whether it was posing
as a veiled statue in suffocating make-up
for hours under the studio lights or being
shackled with heavy chains. It was also a
time when Madhubala's relationship with
Dilip Kumar was fading out, and the lives
of Madhubala and her screen character
were consistently seen as overlapping
because of the overwhelming sense of
loss and tragedy and the unrelenting
diktat of destiny that clung to both and
which neither could escape".[21]

Mughal-e-Azam was released on 5

August 1960, and became the highest-
grossing film at that time, a record that
went unbroken for 12 years until the
release of the film Haathi Mere Saathi in
1972. Madhubhala was nominated for a
Filmfare Award for her performance in
Mughal-e-Azam.

In 1960, Madhubala was at the peak of

her career and popularity with the release
of Mughal-e-Azam and Barsaat Ki Raat.
She did have intermittent releases in the
early 1960s. Some of these, such as
Jhumroo (1961), Half Ticket (1962) and
Sharabi (1964), performed above average
at the box office. However, most of her
other films released during this time were
marred by her absence and subsequent
lack of completion due to her prolonged
illness. These films 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. Her relationship with
Dilip Kumar ended at that time and after
the shooting of Mughal-e-Azam was
completed, Dilip Kumar refused to work
with Madhubala which left her grief
stricken.[22] Her last released film Jwala,
although filmed in the late 1950s, was
not released until 1971.

Personal life and

controversies
In their 1962 book Self-Portrait, Harish
Booch and Karing Doyle commented that
"Unlike other stars, Madhubala prefers a
veiled secrecy around her and is seldom
seen in social gatherings or public
functions." (p. 76), and went on to say
that "Contrary to general belief,
Madhubala is rather simple and
unassuming" (p. 78).[12][23] This is echoed
in Madhubala's sister's interview with
Filmfare: "(Madhubala) became a craze
because she was never seen in public.
She wasn't allowed to attend any
function, any premiere. She had no
friends. But she never resisted, she was
obedient. Being protective, my father
earned the reputation of being
domineering".[24] Dilip Kumar added: "She
was extremely popular... and I think the
only star for whom people thronged
outside the gates. Very often when
shooting was over, there’d be a vast
crowd standing at the gates just to have
a look at Madhu... It wasn’t so for anyone
else. That was her personal effect on
fans. Her personality was vivacious."[25]
But, "She was aware of her beauty,"
reminisces B. K. Karanjia, former Filmfare
editor and a close friend of both
Madhubala and her father, "and because
there were so many in love with her, she
used to play one against the other. But it
was out of innocence rather than shrewd
calculation."[26] Dev Anand recalled in a
similar way: "She liked to flirt innocently
and was great fun."[27][28] However, with
Dilip Kumar she had a long association.
Dilip Kumar and Madhubala first met on
the set of Jwar Bhata (1944 film) when
she was 11 years of age, and worked
together again on the film Har Singaar
(1949), which was shelved. Their
relationship began two years later during
the filming of Tarana (1951). At the age
of eighteen, Madhubala became more
intimate with Dilip Kumar on the set of
"Tarana" (1951). During these days, she
sent a letter to Dilip written in Urdu with a
red rose and asked him to accept it if he
had really loved her. Dilip accepted the
letter and the red rose. Both remained in
a romantic relationship for seven years.
But she had to give the courtship with
Dilip due to her father's opposition to
him. They became a romantic pair
appearing in a total of four films together.
Actor Shammi Kapoor recalled that "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..."[29][24]
But, Madhubala's father Ataullah Khan
initially did not give them permission to
marry.[30] Dilip Kumar said: "She was a
very, very obedient daughter",[31] and
who, in spite of the success, fame and
wealth, submitted to the domination of
her father and more often than not paid
for his mistakes.[32] "This inability to
leave her family was her greatest
drawback", believed Shammi Kapoor, "for
it had to be done at some time."[33]

Kumar later revealed that her father

eventually gave them permission to
marry and was "glad to have two stars
under the same roof." However, her
father, who owned his own production
company, wanted to make "a business
venture out of their proposed marriage"
according to Kumar, which he did not
approve of, after which the relationship
began turning sour.[34] The Naya Daur
(1957 film) court case happened in 1956
when Dilip Kumar testified against
Madhubala and her father in favor of
director B.R. Chopra in open court. This
struck a fatal blow to the Dilip-
Madhubala relationship as it ended any
chance of reconciliation between Dilip
Kumar and Madhubala's father.[35]
Reflecting on this, while Dilip Kumar said
he was "trapped",[36] Shammi Kapoor felt
"this was something which went beyond
him (Dilip) and he couldn’t control the
whole situation..." [37]

Madhubala met Kishore Kumar during

the making of 1956 film Dhake Ki Malmal.
In 1958, Kumar's marriage with his first
wife ended, after which he and
Madhubala began a relationship.
Madhubala married Kishore Kumar in
1960. Kishore Kumar converted himself
into Islam religion and reportedly
changed his name to Karim Abdul to
marry Madhubala. Before his marriage to
Madhubala, he reportedly threatened
Madhubala that if she will not marry him,
he will harm himself which made her
thought that he loves her and agreed to
marry him.[38] According to Leena
Chandavarkar (Kishore's fourth wife):
"When she realized Dilip was not going to
marry her, on the rebound and just to
prove to him that she could get
whomsoever she wanted, she went and
married a man she did not even know
properly."[39] B. K. Karanjia assumed that
"Madhubala may have felt that perhaps
this was her best chance" because by
this time she became seriously ill, and
was about to stop working completely;
however, he added that "it was a most
unlikely union, and not a happy one
either." [40]

Madhubala's illness was known to

Kishore, but like all the others, he did not
realize its gravity; Ataullah Khan did not
approve of his son-in-law at all, but he
had lost the courage to disapprove.[41]
Ashok Kumar reminisced in a Filmfare
interview: "She suffered a lot and her
illness made her very bad-tempered. She
often fought with Kishore, and would
take off to her father's house where she
spent most of her time."[42] Madhubala's
sister echoes this view albeit in a slightly
different tone: "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. They never had
children as Madhubala was seriously ill
in the 1960s.
However, Madhubala's love-life continued
to be the subject of media speculation.
Mohan Deep wrote an unofficial
biography of Madhubala titled Mystery
and Mystique of Madhubala, published in
1996, where he claims that Kishore
Kumar regularly whipped Madhubala,
who would show her lashes to Shakti
Samanta. He also claimed that the
versions about Madhubala's sickness
and death provided by her family
members did not match with those
provided by Kishore Kumar's family
members and the fact that Madhubala
was forced to wear heavy shackles and
whipped mercilessly in real life in the
secret version of Mughal e Azam is
proved by the fact that only a minor part
of the total number of reels shot were
released for public. However, the secret
version of the film earned Kishore Kumar
a lot of moolah that he earned forcing
Madhubala to work as a sex slave in the
secret version of the movie.[43] Mohan
Deep also questions whether Madhubala
was really ill or whether her ailing was a
fiction.[44] The book was heavily criticised
on its release by industry veterans such
as Shammi Kapoor, Shakti Samanta and
Paidi Jairaj.[45]

Final years and death

Madhubala had ventricular septal defect
(a hole in her heart) which was detected
while she was shooting for Bahut Din
Huwe in Madras in 1954.[46] By 1960, her
condition had aggravated, and her sister
explains that "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".
In 1966, with a slight improvement in her
health, she made a valiant attempt to
complete her work in Chalak opposite Raj
Kapoor, which needed only a short spell
of shooting, but she could not even
survive that strain. [47] When acting was
no longer an option, Madhubala turned
her attention to film direction. In 1969
she was set to make her directorial debut
with the film Farz aur Ishq. However, the
film was never made, as during pre-
production, she died on 23 February
1969, shortly after her 36th birthday. She
was buried at Juhu Muslim Cemetery in
Santacruz, Mumbai. She used to keep a
diary during her lifetime which was
buried along with her after her death. Her
tomb was built with marbles and
incriptions include aayats from Qur'an
and verse dedications. Controversially,
her tomb was demolished in 2010 along
with those of Mohammed Rafi, Parveen
Babi, Talat Mahmood, Naushad Ali and
Sahir Ludhianvi to make way for newer
graves.

Legacy
Madhubala's strong presence in the
public memory has been evidenced by all
recent polls about top actresses or
beauties of the Indian cinema.[48][49][50]
Every year, on her birthday, numerous
articles are printed and television
programmes aired to commemorate her,
to the present day. Her posters are still in
demand and sold alongside
contemporary actresses such as Meena
Kumari, Nargis, Waheeda Rehman and
Nutan. Modern magazines continue to
publish stories on her personal life and
career, often promoting her name heavily
on the covers to attract sales.[51] Many
believe, however, that Madhubala
remains one of the most underrated
actresses as "Her beauty attracted more
attention than her talent."[52]

In 2004, a digitally-colourized version of

the original Mughal-e-Azam was released,
35 years after her death. In 2012, her
1962 release Half Ticket was also
remastered, digitally coloured and re-
released after 50 years of its original
release.

On 18 March 2008, a commemorative

postage stamp featuring Madhubala was
issued.[53] The stamp was produced by
India Post in a limited edition
presentation pack. It was launched by
veteran actors Nimmi and Manoj Kumar
in a ceremony attended by colleagues,
friends and surviving members of
Madhubala's family. The only other Indian
film actress that was honoured in this
manner was Nargis Dutt, at that point of
time.[54]
On 10 August 2017, the New Delhi center
of Madame Tussauds unveiled a statue
of Madhubala, as the famous courtesan
Anarkali (of Mughal-E-Azam fame) as a
tribute to the legendary actress. The
Madame Tussauds opened in New Delhi
on December 1, 2017.

In 2018 the New York Times published a

belated obituary for her.[55]

Filmography
Madhubala appeared in more than
seventy films but only fifteen of which
were successful. Here is the list of films
in which she acted.
Year Film Role Director Notes

Amiya
1942 Basant Manju Credited as Baby Mumtaz
Chakravarty

1944 Mumtaz Mahal Kidar Sharma Child Artist

1945 Dhanna Bhagat Kidar Sharma Child Artist

1946 Pujari Aspi Child Artist

Chaturbhuj
1946 Phoolwari Child Artist
Doshi

1946 Rajputani Aspi Child Artist

Debut film as a heroine

1947 Neel Kamal Ganga Kidar Sharma
Credited as Mumtaz.

1947 Chittor Vijay Mohan Sinha

1947 Mere Bhagwan Mohan Sinha

Khubsoorat
1947 Mohan Sinha
Duniya

Raj Kumari
1947 Dil-Ki-Rani Mohan Sinha
Singh

1948 Parai Aag Najm Naqvi

1948 Lal Dupatta K.B.Lall

1948 Desh Sewa N.Vakil

1948 Amar Prem N.M.Kelkar

1949 Sipahiya Aspi

1949 Singaar J.K.Nanda

1949 Paras Priya Anant Thakur

1949 Neki Aur Badi Kidar Sharma

1949 Mahal Kamini Kamal Amrohi

1949 Imtihaan Mohan Sinha

1949 Dulari Shobha/Dulari A. R. Kardar

1949 Daulat Sohrab Modi

1949 Aparadhi Sheela Rani Y.Pethkar

1950 Pardes Chanda M.Sadiq

1950 Nishana Greta Wajahat Mirza

Devendra
1950 Nirala Poonam
Mukherjee

1950 Madhubala Prahlad Dutt

First Indian film to get an 'A'

1950 Hanste Aansoo K.B.Lall
certificate.

1950 Beqasoor Usha K. Amarnath

1951 Tarana Tarana Ram Daryani

1951 Saiyan Saiyan M. Sadiq

1951 Nazneen N.K.Ziree

1951 Nadaan Hira Singh

1951 Khazana M.Sadiq

Amiya
1951 Badal Ratna
Chakravarty

1951 Aaram Leela D. D. Kashyap

1952 Saqi Rukhsana H. S. Rawail

Amiya
1952 Deshabakthan
Chakrabarty

1952 Sangdil R. C. Talwar

1953 Rail Ka Dibba Chanda P. N. Arora

1953 Armaan Fali Mistry

1954 Bahut Din Huye Chandrakanta S.S.Vasan

1954 Amar Anju Mehboob Khan

1955 Teerandaz H.S.Rawail

1955 Naqab Lekhraj Bhakri

1955 Naata Tara D. N. Madhok First film as a producer.

1955 Mr. & Mrs. '55 Anita Verma Guru Dutt

1956 Shirin Farhad Shirin Aspi Irani

Raja
1956 Raj Hath Sohrab Modi
Beti/Rajkumari

1956 Dhake Ki Malmal J.K.Nanda

1957 Yahudi Ki Ladki S.D. Narang

1957 Gateway of India Anju Om Prakash

1957 Ek Saal Usha Sinha Devendra Goel

1958 Police Kali Das

1958 Phagun Banani Bibhuti Mitra

1958 Kala Pani Asha Raj Khosla

1958 Howrah Bridge Edna Shakti Samanta

Chalti Ka Naam
1958 Renu Satyen Bose
Gaadi

Bhagwandas
1958 Baghi Sipahi
Varma

1959 Kal Hamara Hai Madhu/Bela S.K.Prabhakar

Insaan Jaag
1959 Gauri Shakti Samanta
Utha

1959 Do Ustad (1959) Madhu Sharma Tara Harish

Mehlon Ke
1960 Asha Hyder Also the producer of the film.
Khwab

1960 Jaali Note Renu/Beena Shakti Samanta

1960 Barsaat Ki Raat Shabnam P.L.Santoshi

Anarkali, Nominated—Filmfare Award for

1960 Mughal-e-Azam K.Asif
Nadira Best Actress

Rita Pramod
1961 Passport
Bhagwandas Chakravorty

Shankar
1961 Jhumroo Anjana
Mukherji

1961 Boy Friend Sangeeta Naresh Saigal

1962 Half Ticket Rajnidevi/Asha Kali Das

1964 Sharabi Kamala Raj Rishi

Released posthumously and only

1971 Jwala Jwala M.V. Raman
colour film

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Further reading
Akbar, Khatija (1997). Madhubala: her
life, her films. UBS Publishers
Distributors. ISBN 978-81-7476-153-8.
Akbar, M. J. Sunday Magazine, 5 Aug
1996
Bajaj, Rajiv K. (ed.). The Daily, 26 May
1996
Bhattacharya, Rinki. Bimal Roy: A man
of silence, South Asia Books
Cort, David. Theatre Arts magazine,
Issue Date: August 1952; Vol. XXXVI
No. 8
Deep, Mohan. Madhubala: The Mystery
and Mystique, Magna Publishing Co.
Ltd.
Joshi, Meera. Madhubala: Tears in
Heaven Filmfare, 14 May 2008
Kamath M.V. The Daily, June 1996
Karanjia, B.K. Dates with Diva, Deccan
Chronicle, 17 December 2006
Khan, Aisha. "Madhubala, 1933-1969,"
New York Times, March 8, 2018.
Raheja, Dinesh. The Hundred
Luminaries of Hindi Cinema, India Book
House Publishers
Rajadhyaksha, Ashish; Willemen, Paul.
The Encyclopedia of Indian Cinema,
Fitzroy Dearborn Publishers
Reuben, Bunny. Follywood Flashback,
Indus publishers
 Sawhney, Clifford. Debonair', June
1996
Singh, Khushwant. Sunday Observer
23–29 June 1996

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