Tributes to MADHUBALA
Aquarius- January 20 - February 18
Madhubala Medley
Rana Chatterjee, Shailaja Subramanian, Sangeeta Melekar and Vaibhavi Deshpande performing during our Madhubala Magic ...
EARLY FILMS -BASANT 1942 AND MAHAL 1949
- www.youtube.com/watch?v=WZ-R2bn76bkJan 6, 2008 - Uploaded by Surjit SinghThere is another nice song in this movie; it is by Ameerbai Karnataki " Hua ... Plz let me knw were i can get the ...
Basant 1942 Madhubala
Another one. Her mom and dad are Mumtaz Shanti and Ulhas. The three backstage gentlemen prompting her are, from my left, ...Tum ko mubarak yea Oonche
BASANT---1942 First Film as a child star.
Basant - 1942
Basant, 1942 Director: Amiya Chakrabarty Music: Pannalal Ghosh / Anil Biswas Lyrics: P.L. Santoshi Cast: Mumtaz Shanti, Ulhas, ...
Director:
Amiya ChakrabartyCredited cast: Kanu Madhubala ... Manju (as Baby Mumtaz)Pramila ... MeenaMumtaz Shanti ... UmaSuresh ... BabulUlhas ... NirmalSee full cast »
Basant (1942)
Film cast: Ulhas, Mumtaz Shanti, Pramila, Jagannath, Suresh, Baby Mumtaz, Kanu Rao, Pithawala, Madhubala Singer: Parul Ghosh, Arun Kumar Lyricist: Pyarelal Santoshi Music Director: Pannalal Ghosh Film Director: Amiya Chakraborty Edit
Storyline
Basant (1942) Movie Synopsis | Story Outline and Summary ...
www.gomolo.com/basant-movie-synopsis-plot-story/991 Add Full Plot | Add SynopsisAmiya Chkaravarty makes his directorial debut with this Bombay Talkies produced traditionalist melodrama. The film opens with a pair of impoverished siblings -- Uma (Mumtaz Shanti) along with her younger brother Babul -- who dream of fame and fortune on the stage. Their luck changes when they meet theater promoter Janaki Prasad and Uma eventually marries the impresario's self-absorbed younger brother, Nirmal (Ulhas). Not long after Uma gives birth to a son, Nirmal leaves his wife and kid to starve by running away hoping to find fame and fortune. When he finally returns to his family, he finds his wife singing and dancing on-stage and kidnaps the kid. Ten years later, he returns when Uma agrees to fulfill her wifely duties.
Country:
IndiaLanguage:
HindiAlso Known As:
Basant See more »
Company Credits
Show detailed company contact information on IMDbPro »
Technical Specs
Runtime:
Sound Mix:
MonoColor:
Black and WhiteSee full technical specs »Aspect Ratio:
1.37 : 1
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Director:
Basant 1942 Madhubala - YouTube
| Cast overview, | |||
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Ashok Kumar | ... |
Hari Shankar
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Madhubala | ... |
Kamini
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M. Kumar | ... |
Hari Shankar's Father
(as Kumar)
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Vijayalaxmi | ... |
Ranjana
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Kanu Roy | ... |
Shrinath
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S. Nazir | ||
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Eruch Tarapore | ||
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Sheela Naik | ||
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Leela Pandey | ||
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Neelam | ||
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Kaneez | ||
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Jagannath | ||
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Mohsin | ||
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Laxman Rao | ||
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S.A. Baker | ... |
(as S. A. Baker)
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Edit
See full technical specs »
Storyline
Hari Shankar (Ashok Kumar) comes to claim his inheritance - a palatial
building known as Shabnam Mahal. He does not see anything out of the
normal, until he sees his portrait on the wall. The housekeeper tells
him the background of the portrait and the tragic ending of two lovers.
Later, Hari Shankar sees a woman singing and swinging in the garden
swing, when he approaches, she disappears. Both the housekeeper and his
lawyer friend, Shrinath, warn Hari Shankar, and ask him to stay away
from this house, he does so, only to be drawn back. No one can help Hari
Shankar now as he continues to be drawn deeper and deeper into the dark
world of the ghostly apparition. "Ayega.. ayega... aanewala,
aayega...." is still popular on radio and tapes/cd. Written by
rAjOo (gunwanti@hotmail.com)
Plot Summary
|
Add Synopsis
Country:
IndiaRelease Date:
1949 (India) See more »Also Known As:
Mahal See more »Company Credits
Show detailed
company contact information
on
IMDbPro »
Technical Specs
Runtime:
Sound Mix:
Mono (RCA Sound System)Color:
Black and WhiteAspect Ratio:
1.37 : 1
Edit
Did You Know?
Trivia
During the recording of the film music, a man carelessly said that if the film didn't prove to be a hit it would be because of the music. When the film was released, however, the music was extremely popular, and music director Khemchand Prakash received letters from all over India. Even though he was ill at the time, Prakash went to that man's house and made him read all those letters. See more »
YOU ARE A DREAM GIRL NOT A DREAM
MAHAL Hindi Full Movie | Madhubala, Ashok Kumar | Hindi Movies Online
Watch Super Hit Classic Hindi Full Movie MAHAl (1949), Director: Kamal Amrohi Producer : Ashok Kumar,Savak Vacha Writer; ...
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‘Madhubala was sad when Dilip Kumar got married" - Madhur Bhushan
Madhur Bhushan reveals the tumult and tragedy that tinged sister Madhubala’s life. Filmfare listens spellbound
She was born on February 14, Valentine’s Day, known to be a celebration of all things heart and love. And it was a failed heart which cut short superstar Madhubala’s life.
“If a 27-year-old is told that she has two years to live, what will her state be?” asks sister Madhur Bhushan. Any wonder then that through
her last years Rulake gaya sapna mera (Jewel Thief)
- www.youtube.com/watch?v=SnH6JJtY_j0Aug 4, 2013 - Uploaded by wapporRula Ke Gaya Sapna Mera Jewel Thief 1967 HD. wappor. SubscribeSubscribed
Unsubscribe 1,175 ...
Rula Ke Gaya Sapna Mera Jewel Thief 1967 HD - YouTube
was the song Madhubala kept listening to? The dream girl was cheated of her dreams. Her youngest sister Madhur recalls the meteoric rise and fadeout of Hindi cinema’s Venus who lived only for 36 years to become a star forever...
THE APA I KNEW
“Right through my childhood, Apa (as she addressed Madhubala aka Mumtaz Jahan Begum Dehalvi) remained busy shooting. Coming from a conservative Muslim family of Pathans, my father (Ataullah Khan) wasn’t keen that we study. But fortunately, I was sent to St Joseph’s Convent, Bandra. Yes, she was the only earning member. My father worked with the Imperial Tobacco Company in Peshawar with the British. But being a Pathan he was hot-headed and self-respecting. He couldn’t bear being badly treated and lost a 15-year-old job in seconds. He brought all of us to Mumbai. Apa, who was just seven, had talent; she could sing and dance. So she did her first film Basant as a child actor. She remained the earning member till the last. All that we are today, we owe it all to her.‘‘Abba (father) was a disciplinarian. Apa had to begin shooting at 9 am. At 6 pm, the car would be sent to the studio and she’d be brought home. My father never went to the studio.
He was not difficult as is believed. He was disciplined and insisted on punctuality. That was what she imbibed too. Once she was to shoot at Ranjit Studio. But there were heavy rains. Abba said, ‘You must go; your name shouldn’t be tarnished’. Those days Ranjit Studio was a 15-minute drive from our home in Bandra. But it took her an hour and a half to reach. The gates were locked. No one had turned up. She waited for half an hour and returned. ‘‘What do I say of her beauty? The fact that she’s spoken about even 42 years after she passed away is proof enough. We suffered from a complex when we stood beside her. Being Pathans we were all tall, fair and had long hair. But none of us sisters looked like her. Our mother was short. We had taken after our father. But we weren’t a patch on Apa. She loved wearing plain white sarees. At home she’d wear maxis. She loved mogras in her hair. She was fond of gold and kundan jewellery. She was also fond of sher shayri as she knew a bit of Urdu. An English tutor also came home to teach her. She loved eating chaat — ragda pattice, pani puri — and kulfi. She’d never diet. Those days actresses were healthy women, not size zero! She’d drive all of us to Chowpatty in her imported cars, Hillman, Buick and Station Wagon. But she’d wear a burqa to hide her identity. When she’d be pulled up by the traffic police for that, she’d plead, ‘Please let me wear it or else I’ll get mobbed’. She even went to watch movies in a burqa. ‘‘Apa 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. He was asked why he’d made her join films in the first place. He’d say, ‘I had 12 children. We would’ve starved to death. I’ve lost my sons who could’ve been my support’.‘‘Apa was emotional by nature. She’d be in tears in seconds. We’d keep wondering what had happened. And she’d laugh easily too. The moment she began laughing, she couldn’t stop. So that day’s shooting had to be cancelled! She wasn’t religious but was God fearing. She didn’t fast but prayed once a day.
LOVING AND LOSING
‘‘Apa 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.
Mughal E Azam [1960] | Dilip Kumar - Madhubala ...
www.youtube.com/watch?v=h3Rn3axE8t8
May 6, 2013 - Uploaded by Old Hindi SongsMughal-E-Azam is a 1960 Indian period epic film directed by K. Asif and produced by Shapoorji Pallonji ...
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)’.
‘‘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). ‘‘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.’’
before it was destroyed by
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