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As a author for All Bakwaas we do not look to target any copyright violations! This is the Tribute to a Legend Like Madhubala Ji ! We do not intend to hurt anyone in either case and if you feel this Post has any violations you could always fill the contact us form for us to rub out those posts from our Blog!
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Real Name : Mumtaz Jehan Begum Dehlavi
Born : 14 February 1933
Died : 23 February 1969

Madhubala graced the Indian screen with her magical appearance and to
this day remains an icon who symbolises beauty and glamour.

Madhubala dreamt of becoming a movie star from a young age. In fact a trusted holy man
had predicted that she would have fame and fortune but would lead an unhappy life
and die at a young age.

Her jobless father took her to Bombay remembering the holy mans words. They struggled
for over a year when Mumtaz was chosen for a childhood role in Basant. Devika Rani
was impressed with her performance and changed her name to Madhubala, who was to
appear in Jwar Bhata, in which Dilip Kumar was playing the lead role. She was unable
to work in the movie but this was the moment the youngster first set eyes on Dilip Kumar.

Mohan Sinha, a Producer-director taught her to drive at the age of twelve.

Madhubala and her father had to struggle until she became a leading lady. She was
16 years old when her poularity started rising from 1949 onwards, however Mahal was
the movie that really established her star status. She was always puntual throughout
her career and would arrive at the studio at 7am and leave on the dot at 6pm.

Madhubala's heart problem was discovered in a routine check up in 1950, when heart surgery was not available,
she had put on a brave face and her illness was kept a secret from the industry for many years. She
frequently used to cough up blood, nevertheless she tried to live life to it's fullest extent.

She was a prankster and loved to laugh and giggle, once she started she found it difficult to control herself.
Madhubala never experienced childhood and was exploited by many men. She was very naive
in trusting people and was let down on many occassions.

Madhubala was fascinated by hollywood movies and frequently watched them to pick up a few tips to enhance her
performance, she had a tutor to teach her English and had a good command of the language within a few months.

Her talent and glamour was not fully utilised by some of her directors as movies were chosen for the
money and security they brought. However she has given outstanding performances in some of the greatest movies
ever to be produced. (Please see the movies section, the super hits are highlighted)

Madhubala was a true romantic who craved for love. She had a clean heart and had the generous ability to forgive and
forget as she couldn't hold onto grudges. She was 21 years old when the doctors decalred uncertainty about her life.

She was a generous person who donated to charity and continued to support her family till her dying days. She had five sisters and made Ajit her rakhi brother in 1950.

She was the first moviestar that had a cold war with the media.

Her Famed Movies:

Basant - 1942 (Baby Mumtaz);

Mumtaz Mahal - 1944 (Baby Mumtaz);

Dhanna Bhaghat - 1945 (Baby Mumtaz)

Pujari - 1946 (Baby Mumtaz);

Phoolwari - 1946 (Baby Mumtaz);

Rajputani - 1946 (Baby Mumtaz)

Chittor Vijay - 1946 * Raj Kapoor;

Dil Ki Rani - 1947;

Khubsurat Duniya - 1947 * Wasti

Mere Bhagwan - 1947 * Wasti;

Neel Kamal -1947 * Raj kapoor;

Amar Prem - 1948 * Raj Kapoor

Parai Aag - 1948 * Munawar Sultana;

Lal Dupatta - 1948;

APRADHI - 1949;

Daulat - 1949

DULARI - 1949 * Geeta Bali;

Imtihan - 1949;

MAHAL - 1949 * Ashok Kumar;

Neki aur Badi - 1949 * Geeta Bali

Singaar - 1949 * Suraiya;

Sipahiya - 1949;

Paras - 1949 * Kamini Kaushal;

Beqasoor - 1950

Madhubala - 1950 * Dev Anand;

Hanste Aansoo - 1950;

Pardes - 1950;

Nirala - 1950 * Dev Anand

Nishana - *1950 * Ashok Kumar;

Aaram* - 1951 * Dev Anand;

Badal - 1951 * Premnath

KHAZANA - 1951;

Saiyan - 1951;

TARANA - 1951 * DILIP KUMAR;

Nazneen - 1951

Nadaan - 1951 * Dev Anand;

Sangdil - 1952 * DILIP KUMAR;

SAQI - 1952 * Premnath

Rail ka Dibba - 1953 * Shammi Kapoor;

Arman - 1953 * Dev Anand;

AMAR - 1954 * DILIP KUMAR

Bahut Din Huwee - 1954;

Mr & Mrs 55 - 1955 * Guru Dutt;

Naqab - 1955 * Shammi Kapoor

Teeradaz - 1955;

Naata - 1955;

RAJ HATH - 1956 * Pradeep Kumar;

SHIRIN FARHAD - 1956 * Pradeep Kumar

DHAKE KI MALMAL - 1956 * Kishor Kumar;

Yahoodi ki ladki - 1957 * Pradeep Kumar

Gateway of India - 1957 * Bharat Bhushan;

Ek Saal - 1957 * Ashok Kumar

Baghi Sipahi - 1958;

CHALTI KA NAAM GAADI - 1958 * Kishor & Ashok Kumar

Police - 1958 * Pradeep Kumar

PHAGUN - 1958 * Bharat Bhushan

HOWRAH BRIDGE - 1958 * Ashok Kumar

KALA PANI - 1958 * Dev Anand

Do Ustaad - 1959 * Raj Kapoor

Kal hamara hai - 1959 * Bharat Bhushan

Insaan Jaag utha - 1959 * Sunil Dutt

Mehlon ke khwab - 1960 * Kishor Kumar

BARSAAT KI RAAT - 1960 * Bharat Bhushan

MUGHAL-E-AZAM - 1960 * DILIP KUMAR

JAALI NOTE - 1960 * Dev Anand

Boy Friend - 1961 * Shammi Kapoor

JHUMROO - 1961 * Kishor Kumar

Passport - 1961 * Pradeep Kumar

HALF TICKET - 1962 * Kishore Kumar

Sharabi - 1969 * Dev Anand

Jwala - 1971 * Sunil Dutt

Chalak - * Raj Kapoor - Incomplete Movie

Yeh basti yeh log * Balraj Sahni - Incomplete Movie

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Last Dayz::

Madhubala was confined to her bed in the last days of her life, she repeatedly watched
her favourite movies, Mudghal-e-Azam, Barsaat Ki Raat, Chalti ka naam gadi and Mahal.
She used to recite Urdu poems to herself and saw her 'pyar kiya to darna kya' over 500 times.

Kishor Kumar Ji used to get upset with her for watching Dilip Movies and insisted she
watched Chalti ka naam gadi and Jhumroo. Her family made sure that someone would
keep an eye on the door to see if Kishor was coming in order to swop the Dilip movies.

She had a 105 degrees temperature a day before she died and expressed her desire to see
Dilip.

She died on 23 February 1969 on a Sunday morning and was buried with her diary at
Santacruz burial ground by her family and Kishor Kumar. Dilip Kumar wasn't at the funeral,
it's not known if he was informed.

However he did come to Ataullah Khan's aid in his last days as he faced financial ruins
even the family cars had to be sold of to cover Madhubala's expensive medical treatment.

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Therefore I with all the due respect to the legends of Bollywood I present a Tribute To Madhubala Ji With This Unique Way!!!

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Thanks and Regards;

s.-.a.-.n.-.j.-.a

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As a author for All Bakwaas we do not look to target any copyright violations! This is the Tribute to a Legend Like Mr. Raj Kapoor! We do not intend to hurt anyone in either case and if you feel this Post has any violations you could always fill the contact us form for us to rub out those posts from our Blog!
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Raj Kapoor is many things to many people: producer, director, actor, editor, musician, story- teller, a man of many moods, an acknowledged patriarch of India's film making industry. There will be endless debates about his exact contribution to the art of cinema, but few can deny that he was the greatest entertainer known to Indian films - the great showman.
Ranbir Raj Kapoor was the son of Prithviraj Kapoor the head of India's greatest and largest film family. He started work as general factotum for Bombay Talkies before moving on to assist Kidar Sharma. Here he was made to sweep floors and be the clapper boy but Sharma noticed the young man's determination to make it. Sharma gave him his break a lead actor in 1947 with Neel Kamal opposite Madhubala.

In Awara (1952), Raju, the petty thief, cries out against a society that accords respectability to thieves, conmen, pickpockets, hoarders and capitalists at the expense of the impoverished working class. "Yeh hamare naye samaj ka dosh hai, jo chor ham, jebkatre hain, public ki aankh mein dhool jhokte ham, meri tarah achche kapde pehante hain, wo chor nahin, aur jo mehnat-mazdoori kartne hain, won. chor hain" (This is a defect in our new social set-up which hails thieves, pickpockets, well-dressed conmen as respectable people and looks down on the hard-working people as thieves), he exhorts and then draws parallels between his own dismal lot and a street dog's destiny. "Kitni ajeeb bat hai, tu bhi awara, main bhi awara, tu bhi badnam, main bhi badnam, tu bhi beghar, mera bhi koi nahin, tu bhi meri tarah pyar ka bhhokha. Fark sirf itna hai ki tu janwar hai aur main insaan. Insaan, huh!" (How strange. You are a vagrant. I am also one. You are of ill-repute, I, too am. You are homeless, I, too, have no home. You are also hungry for love, like me. The only difference between us is that you are an animal and I am human. Human, huh!). Obviously, in Raju's view, there is hardly any difference. For the poor who throng the pavements are as marginalised as the street pariahs. In Shri 420, too, he aligns himself with the dehumanised down and outs who live behind the glare of Bombay's glittering skyline. With his tattered shoes, patched trousers and pocketful of dreams, he strikes an instant rapport with the city scum. A banana-seller becomes his foster-mother and a plebeian schoolteacher (Nargis) his betrothed. Raj Kapoor's penchant for proletarian woes was like his outward tramp-like appearance. Totally Chaplinesque. For Chaplin, the proletarian may be the man who is hungry and the representations of hunger may be epic in his films: excessive size of sandwiches, rivers of milk, cartfuls of fruit tossed carelessly aside, untouched. Nevertheless, despite being ensnared in his starvation, the Chaplin Man is always just below political awareness. Roland Barthes elucidates: "Historically, Man, according to Chaplin, roughly corresponds to the worker of the French Restoration, rebelling against machines, at a loss before strikes, fascinated by the problem of bread-winning (in the literal sense of the word), but as yet unable to reach a knowledge of political causes and an insistence on a collective strategy." Raj Kapoor's tramp was also a political animal who cried out against destitution and the inequitable distribution of wealth. But he did not hold political-economic systems responsible for this. With him, rebellion grew soft, gentle and hence easily containable, even though the underdog was stationed centrestage. For Kapoor's underdog may be poor, yet he was happy and full of buoyant life. And once the downtown ramblings were complete, the identification with the down and outs was also done away with. In Awara, when the first opportunity of a class transfer looms ahead, Raju, the bourgeois-basher, becomes the biggest bourgeois of them all. At the end of the our-class-their-class diatribe, the vagrant realises that he is actually the lost son of the city's stuffy, aristocratic judge, Raghunath (Prithviraj Kapoor). The very same one who frowned upon the fringe people and believed in the Nietzschian concept of men and supermen, of bad blood and blue blood, of kings and common men. Thus, the first opportunity that comes his way, Raju moves upwards and finds a comfortable niche for himself in the gilded family hearth, unmindful of all vagabonds, tramps, street dogs, the unwanted and the dispossessed.

Therefore I with all the due respect to the legends of Bollywood I present a Tribute To Mr Raj Kapoor With Unique Way!!!

So, what are you waiting for? Pick up a R.K. movie and re-live the best moments of India’s Greatest Showman! _________________________________________________________________________
Thanks And Regards;
s.-.a.-.n.-.j.-.a




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