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A young Madhubala & her Father, Attaullah Khan

-pooja-mahi-rai

Sisters, Chanchal & Madhubala.

A genuine colour picutre from an old Filmfare

On the sets of Madhubala's own home production 'Naata' (1955) - A film about two sisters who are pretty much tied to the hip; the younger of the two (Chanchal) wanting to see the older sister (Madhubala) be happy in what she thinks is a potential marriage proposal for her older sis (a potential strapping fella who just recently moved to the village - intellectual, kind, caring, seems like he's fascinated by Madhu and taken by her beauty etc etc etc - seems too good to be true eh?) The younger sister encourages the emotions of the older. Well, turns out the dude is already married and brings back his new bride to the village to meet everyone; witnessing this, and wishing him a long life and happy marriage - through heartache, the older sister passes away in her younger sisters arms. 

Quite scary and coincidental how the main character dies of heartfail/ache eh?

Ok so this is my first post in a LONG time! But this was too amazingly cute (yet tragic in a way) to NOT share.

Not seen this one before - Here we see Dilip Kumar giving Madhubala what looks like a ring (most probably a prop) while on the sets of Mughal-E-Azam.

Adorable. Simply ADORABLE. I couldn't help but grin like a fool. :D

Madhubala celebrating her birthday on the sets of a movie with Om Prakash (to her left), her Father Attaullah Khan (3rd person to her left) and many others. My guess is that it was on the sets of Howrah Bridge (1958)

- (pooja-mahi-rai)

Some more rare filmfare images of Madhubala. - (pooja-mahi-rai)

The instant transformation from the 1st shot to the 2nd; how she seems so thoughtful and even upset in an off guard moment, but then lights up the screen with a smile that could deceive anyone and everyone. These pictures represent how each and every one of us has two different sides. One that we keep to ourselves and don't want to show the world because it portrays our deepest desires, anguishes, and thoughts, and one that shows how radiant and full of life we can be; the side that wants to make others happy regardless of any pain or sufferings we may be concealing. It shows her Mona Lisa Smile in black and white - clearly, and obviously. - Pooja Mahi Rai Madhubala - Mumtaz Jahan Begum Dehlavi (1933 - 1969)

Amar (1954) - Stills & Words from (pooja-mahi-rai) So I have a lot of posts on Amar. And yes, I do agree the plot starts to get a bit fuzzy towards the end. But I can't stress how much beauty is in the direction and art of this movie. Here are a few that I find particularly themed, and just gorgeous to look at. Here's what I see in them:    The first two I see the two of the three main leads. Opposite poles - the innocent and the understanding, the 'impure' and the 'pure', the contrast of black and white. Sonia and Anju. Nimmi and Madhubala. I read a comment on YouTube that said if Nimmi and Madhu swapped roles, then the movie would be a hit. I couldn't agree less! Here, Anju has volunteered to give blood to the weak Sonia after she took a tumble down the stairs. She's giving her blood which is like, in a way, helping her sustain her life in her condition - which  mirrors her simultaneous decision to literally give Sonia the life she was planning on having by giving her Amar, again not reluctantly, but voluntarily.    The second two shows two very distinctive side shots in the movie. Two turning points. One where Amar is close to confessing to Anju but then rejects his instinct, and the other where Amar embraces his sins and accepts Sonia. Both shot beautifully. Note one shot has the two looking up and the other looking down.     The next shows how both symmetry and asymmetry can be be equally as effective; one shot showing Sonia walking back home after being raped by Amar, the next showing Amar and Anju walking down the steps of the Mandir, aka where justice is seen and told, and the very same place Amar fears.      The next two just make me feel all warm and fuzzy inside. I just can't help fall in love with the electric chemistry between these two, despite how I began to dislike Dilip Saab a little after knowing about his insensitivity to the (quite literally) heart broken Madhubala due to the Naya Daur court case. Yusuf Saab (aka Dilip Kumar) and Mumtaz Begum (aka Madhubala) are just made for each other. If you think their chemistry is amazing in this, then watch Tarana; you'll become lost in their dialogue and banter. Absolutely mesmerising to watch!       The next shows how stunning the shadows and lights can be in Black and White classics of the Golden Era of Bollywood. I find it a bit of an insult to call the movies of those days ''Bollywood''. The word Bollywood for me crops up an image in my mind of the modern razzle dazzle that India is trying to practically copy from western cinema. I don't feel the term Bollywood does the classics justice. Indian cinema of the 50's and 60's sounds more respectful and sophisticated and puts them somewhat in a league of their own. These pictures represent all that is beautiful about monochrome; emotion in simplicity, beauty in darkness, no over kill, nothing to overcompensate for. Just simple story telling, no side tracking, no unnecessary songs; to the point, and head strong! The first picture shows the scene that I find the most fascinating - Amar's inner conflict and a confession (More about that here).The second image showing Anju's own inner conflict of her own. Both pictures sharing in common Anju and Amar's backs to the camera. 

     I still have yet to find a picture that was picturised as beautifully as this one (again leaving Mughal-E-Azam in a league of it's own.) - Pooja

Madhubala & Her Diversity -  From Vamp to Court-Dancer, and from Village Belle, to Vivacious Young Lass; she was able to pull off any role with ease. What can I say - I love her! Chalti Ka Naam Gaadi (1958) Mughal-E-Azam (1960) Howrah Bridge (1958) Pardes (1950) gifs - pooja-mahi-rai

Wow Moments - Amar (1954)       I want to talk about this amazing scene in Amar that left me gaping at the screen the first time I saw and understood it, and appreciating vintage Bollywood and the movie makers of the yesteryears that much more.       In this scene we see the split second where Amar realises Anju is suspecting something is wrong, as Amar has been acting strangely. What he doesn't know yet is that she has also put all the pieces together and is now aware of his actions after an encounter with Sonia.       He reaches her room, about to give her a letter with his confession about the sin he has committed (raping an innocent village girl a.k.a. Sonia). However he withdraws from his confession, and he walks off with haste, avoiding the matter - cue the heart breaking song "Jaane Wale Se Mulaqat Na hone Paayi"      Look at how appropriate this picturisation is in this scene. The screen of the door to Anju's room is almost acting like the screen you would find in a confession box at church - the barrier between the sinner and the forgiver.      The same principle is here as there is at confession; Amar has gone to confess to Anju, a woman who he finds peace and contentment with (similarly how you would find peace when confiding in a priest at church). She represents virtue, compassion, empathy and rationality;  trying to understand the point of view of all involved - again much like a priest that you would go to confession for.       This film has countless moments where I sit and stare at the screen, thinking about the masterpiece that is this film. The imagery in this film, representing either Amar's guilt, Sonia's innocence, or Anju's virtue is just mesmerising.      The way Mehboob Khan has shot this is incredible. I don't know if anyone else has viewed this scene in that way, but I hope I've shown a different perspective of it to make you go ''Wow, Amar was a brilliant movie indeed'' - Pooja  - edit by me

Do Ustaad (1959)

Some sweet scenes, some funny scenes. Daisy Irani is bloody adorable and one heck of a child star, might I add. First few GIFs are with her and Madhubala. I'd give this film a 6/10. The 6 because there were some laugh out loud moments (especially in the scenes where Raj Kapoor is in disguise as a Begum and Madhubala dresses up in disguise as a Pashtun Khan-saab - ironically the type/caste of Muslim she is, haha) But, on the whole, the plot, story and quality of the movie wasn't on the same standards as 'Amar' or 'Kala Pani'. Good for a laugh, and fun to watch for Raj Kapoor and Madhubala fans, their on screen chemistry is cute :-)

Happy Birthday to my idol Madhubala! - Who would have turned 80 years old today <3 [Edits by me - pooja-mahi-rai] A short life of 36 years lived - but even 44 years after her death, she is still remembered with just as much love, happiness and nostalgia. She has made more of an impression on the world than some of the current stars of Bollywood, and she remains just as mysterious and Mona Lisa like; smiling through tears and unspoken-of woes. The saddening facts surfaced, when her sister shared some of her heartbreaking memories of the last few years of this ethereal stars' life. One of my idols, a symbol of innocence, living life from the heart, and loving unconditionally, she represents the power to keep going even if the going gets tough - her story pushes me to keep on moving forward and to never give up. -  Pooja (Original pictures taken by James Burke for LIFE magazine 1951)