Portrait of Madhubala in 1949
Mumtaz Jehan Begum Dehlavi|
14 February 1933
Delhi, British India (now in India)
23 February 1969 (aged 36)|
Mumbai, Maharashtra, India
|Cause of death||Ventricular septal defect|
|Burial place||Santacruz Muslim Cemetery, Mumbai, Maharashtra|
|Residence||Carter's Road, Bandra, Mumbai|
|Other names||Baby Mumtaz (as a child artist), Madhu, Beauty with Tragedy, Anarkali of Hindi Cinema, Venus Queen of Indian Cinema|
|Occupation||Actress, Producer, Singer|
|Era||Pre-Golden era and Golden era of Bollywood music and films|
|Known for||Bollywood music and films|
Kishore Kumar (m. 1960–1969)
|Relatives||See Ganguly family|
Madhubala (14 February 1933 – 23 February 1969), born Mumtaz Jehan Begum Dehlavi, was a popular Indian Hindi/Hindustani film actress who appeared in classic films of Bollywood. Popularly known as The Beauty with Tragedy and The Venus of Indian Cinema, she was known for her beauty and starring in commercially successful films of Hindi Cinema.  She was active between 1942-1964. 
Regarded as one of the most iconic and influential actresses in the history of Hindi Cinema, Madhubala made her screen debut in a minor role at the age of 9 with the film Basant (1942) but her acting career actually began in 1947, when she made her debut with Raj Kapoor at the age of 14 with the film Neel Kamal (1947). In a career spanning over two decades, Madhubala was known for her roles in more than 70 films of variety of genres such as Mahal (1949), Dulari (1949), Beqasoor (1950), Tarana (1951), Amar (1954), Mr. & Mrs. '55 (1955), Chalti Ka Naam Gaadi (1958), Howrah Bridge (1958) and Mughal-e-Azam (1960) with actors such as Dilip Kumar, Guru Dutt, Ashok Kumar, Dev Anand, Kishore Kumar and many more as her co-stars. She was nominated for a Filmfare Award for Best Actress 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 their feature of her, Life, called her "the biggest star" in the inter-national film industry. She was photographed extensively for this feature by James Burke. Madhubala had been compared to Marilyn Monroe: the smoldering looks, the short career, the tragic end. "There was a remar-kable similarity in the soft vulnerability of their faces", writes Khatija Akbar in her biography of Madhubala. "The same abandoned to their laughter, head thrown back, that same incandescent glow". She was an avid fan of Hollywood, and while visiting Bombay, Frank Capra was keen in giving her a break in Hollywood but her father refused.
Often drawing comparisons with Marilyn Monroe, 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). Her 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.
Madhubala had a long relationship with actor Dilip Kumar, but instead she married her Chalti Ka Naam Gaadi co-star Kishore Kumar. Together they had worked in films such as Dhake Ki Malmal (1956), Chalti Ka Naam Gaadi (1958), Jhumroo (1961), Half Ticket (1962). Their marriage lasted for nine years and ended on 23 February 1969, when Madhubala died from a prolonged illness at the age of 36.
Madhubala was born on February 14, 1933 as Mumtaz Jehan Begum Dehlavi. Her father, Attaullah Khan was a Pashtun from the old Peshawar valley, which includes the present-day regions of Mardan and Swabi which are now in Pakistan. Her father belonged to the Yusufzai tribe of the Pashtuns. 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.
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. Madhubala learned driving at the age of twelve and liked to drive long sometimes.
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. 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. Madhubala was a fan of Meena Kumari and said: "She has the most unique voice. No other heroine has it". Actress Devika Rani was impressed by her performance and potential, and advised her to assume the screen name "Madhubala", literally meaning "honey belle".
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). This was the last film in which she was credited as Mumtaz before assuming her screen name "Madhubala". Although commercial failure, this romantic melodrama is now significant as the debut of two of Bollywood's most important figures, Raj Kapoor and Madhubala, who was only fourteen at the time. Madhubala soon garnered reputation as a reliable proffessional actress. 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).
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. 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.
Mahal was the film that made Madhubala famous as it was India's first reincarnation thriller film. Produced by Bombay Talkies studio, this Kamal Amrohi's direction debut launched both playback singer Lata Mangeshkar and the leading lady Madhubala into super stardom. Its songs, particularly "Aayega Aanewala", sung by Lata Mangeshkar, are perennial favourites. The film was one of the biggest box office hits of the year in India and paved way for Indian gothic fiction.
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.
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. 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. 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 were box office successes. Many senior actors praised Madhubala's acting skills. 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..." 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."
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. 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."
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".
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. The song "Pyar Kiya To Darna Kya" from Mughal-e-Azam, was picturized on Madhubala. The song was created by Naushad Ali and was sung by Lata Mangeshkar and chorus. The song, when the film was first released, was in color. It was shot in a set inspired by the Sheesh Mahal of the Lahore Fort.
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 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). 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". 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." 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." Dev Anand recalled in a similar way: "She liked to flirt innocently and was great fun." 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). 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..." But, Madhubala's father Ataullah Khan initially did not give them permission to marry. Dilip Kumar said: "She was a very, very obedient daughter", 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. "This inability to leave her family was her greatest drawback", believed Shammi Kapoor, "for it had to be done at some time."
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. 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. Reflecting on this, while Dilip Kumar said he was "trapped", Shammi Kapoor felt "this was something which went beyond him (Dilip) and he couldn’t control the whole situation..." 
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.  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." 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." 
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. 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." 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. Mohan Deep also questions whether Madhubala was really ill or whether her ailing was a fiction. The book was heavily criticised on its release by industry veterans such as Shammi Kapoor, Shakti Samanta and Paidi Jairaj.
Illness 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. 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.  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. Madhubala was buried at Juhu Muslim Cemetery in Santacruz, Mumbai. 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.
Madhubala's strong presence in the public memory has been evidenced by all recent polls about top actresses or beauties of the Indian cinema. 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. In Rediff.com's International Women's Day 2007 special, Madhubala was ranked second in its top ten list of "Bollywood's best actresses". Many believe, however, that Madhubala remains one of the most underrated actresses as "Her beauty attracted more attention than her talent."
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. 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.
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.
Madhubala appeared in more than seventy films but only fifteen of them were successful. In her career spanning 22 years, she acted in 74 films, produced two films and sang some songs in her early films. Here is the complete list of films:
|1942||Basant||Manju||Credited as Baby Mumtaz
Sang a song
|Mumtaz Shanti, Baby Mumtaz, Kanu Roy, Pramila, Suresh, Ulhas|
|1945||Dhanna Bhagat||Child Artist||Kamal Zamindaar, Kamala Chatterjee, N. Kabir, Baby Mumtaz, Pesi Patel, Chanda Bai, Rajendra Singh|
Sang a song
|Bipin Gupta, Baby Mumtaz, Masood, Mumtaz Shanti|
|1946||Phoolwari||Child Artist||Motilal, Khursheed, Baby Mumtaz, Dixit, Nazira, Tiwari|
|1946||Rajputani||Child Artist||P. Jairaj, Baby Mumtaz, Veena|
|1947||Neel Kamal||Ganga||Debut film as a heroine
Credited as Madhubala
|Raj Kapoor, Madhubala, Begum Para|
|1947||Chittor Vijay||Raj Kapoor, Madhubala, Monica Desai, Madan Puri|
|1947||Mere Bhagwan||Surendra, Madhubala, Vasti, Shyam Sundar, Shashibala, Joshi, Jugnu, M. Khanjar|
|1947||Khubsoorat Duniya||Wasti, Madhubala|
|1947||Dil-Ki-Rani||Raj Kumari Singh||Raj Kapoor, Madhubala, Shyam Sundar, Badri Prasad, Munshi Khanjar, Altaf|
|1948||Parai Aag||Madhubala, Ulhas, Munnawar Sultana, Raj Talwar, Sheri|
|1948||Lal Dupatta||Madhubala, D.K. Sapru, Ranjit Kumari, Ulhas, Rajan Haksar, Gulzar, Kesari|
|1948||Desh Sewa||Madhubala, Suraiya Choudhary, Ansari, Anwar, Mumtaz, Prakash, Shamim, Srinivas, Subhadra|
|1948||Amar Prem||Raj Kapoor, Madhubala, Madhav Kale, Nimbalkar, Alka Rani|
|1949||Sipahiya||Madhubala, Lala Yakub, Altaf, Yashodra Katju, Husn Banu, Kanhaiyalal, Agha, Jillo, Amir Bano, Ghulam Rasool|
|1949||Singaar||P. Jairaj, Suraiya, Madhubala, Madan Puri, K.N. Singh, Durga Khote, Amir Banu, Randhir, Shivraj, Chandabai, Cuckoo, Prem Dhawan|
|1949||Paras||Priya||Kamini Kaushal, Madhubala, Amir Ali, Amar|
|1949||Neki Aur Badi||Geeta Bali, Madhubala|
|1949||Mahal||Kamini||Ashok Kumar, Madhubala, M. Kumar, Vijaylaxmi, Kanu Roy, S. Nasir, Eruch Tarapore, Sheela Naik, Leela Pandey, Neelam, Kaniz, Jagannath, Mohsin, Laxman Rao, S.A. Baker, Ramastri, Raja Salim|
|1949||Imtihaan||Madhubala, Madan Puri, Surendra, Jugnu, Sajjan, Gulab, Rekha|
|1949||Dulari||Shobha/Dulari||Suresh, Shyam Kumar, Madhubala, Geeta Bali, Jayant, Pratima Devi, Amar, Nawab|
|1949||Aparadhi||Sheela Rani||Madhubala, Ram Singh, Pran, Leela Pandey, Uma Dutt, Srinivas Joshi, Gauri, Manjrekar|
|1950||Pardes||Chanda||Madhubala, Rehman, Karan Dewan, Jayant|
|1950||Nishana||Greta||Madhubala, Ashok Kumar, Geeta Bali, Shyama|
|1950||Nirala||Poonam||Dev Anand, Madhubala, Mazhar Khan, Mumtaz Ali|
|1950||Madhubala||Madhubala, Dev Anand, Ram Avtar, Banke Bihari|
|1950||Hanste Aansoo||First Indian film to get an 'A' certificate||Madhubala, Motilal, Gope, Manorama, Jankidas, Mirza Musharraf|
|1950||Beqasoor||Usha||Madhubala, Ajit, Pramila, Yakub, Mangla, Gope, Geeta Nizami, Ramesh, Durga Khote|
|1951||Tarana||Tarana||Madhubala, Dilip Kumar, Shyama, Gope, Jeevan, Gulab, M. Kumar, Dewaskar, Girdhari, Chandu, Vikram Kapoor|
|1951||Saiyan||Saiyan||Madhubala, Ajit, Sajjan, Raj Mehra, Leela Chitnis, Jayant, Abbas, Ramesh Thakur, Ramesh Sinha, Amar, Amir Ali, Kathana, Cuckoo|
|1951||Nazneen||Madhubala, Nasir Khan, Agha, Chanchal, Om Prakash, Ram Avtar, Cuckoo, Pratima Devi, Jayant|
|1951||Nadaan||Dev Anand, Madhubala, Sunalini Devi, Madan Puri|
|1951||Khazana||Madhubala, Nasir Khan, Gope, Cuckoo|
|1951||Badal||Ratna||Premnath, Madhubala, Hiralal, Agha, S. Nazir, Krishnakant, Randhir, Purnima|
|1951||Aaram||Leela||Dev Anand, Madhubala, Durga Khote, Premnath, Manmohan Krishna, Ramayan Tiwari, Hiralal, Tabassum, Leoner Maria, Talat Mehmood|
|1952||Saqi||Rukhsana||Premnath, Madhubala, Bipin Gupta, Gope, Iftekhar, Cuckoo, Randhir, Mumtaz Begum|
|1952||Sangdil||Dilip Kumar, Madhubala, Shammi, Leela Chitnis, Pratima Devi, Dara Singh|
|1953||Rail Ka Dibba||Chanda||Shammi Kapoor, Madhubala, Sajjan, Yasmeen,|
|1953||Armaan||Dev Anand, Madhubala, Shakila, K.N. Singh|
|1954||Bahut Din Huye||Chandrakanta||Madhubala, Savitri, Lalita Pawar|
|1954||Amar||Anju||Dilip Kumar, Madhubala, Nimmi, Jayant, Ulhas, Mukri, Husn Banu, Amar, Siddiqui, Murad, Pande|
|1955||Teerandaz||Madhubala, Ajit, Chanchal, Gope, P. Jairaj, Yashodra Katju, Kuldip Kaur|
|1955||Naqab||Shammi Kapoor, Madhubala, Ajit, Hiralal, Yashodra Katju, Maruti, Asha Mathur|
|1955||Naata||Tara||First film as a producer|
|1955||Mr. & Mrs. '55||Anita Verma|
|1956||Raj Hath||Raja Beti/Rajkumari|
|1956||Dhake Ki Malmal|
|1957||Yahudi Ki Ladki|
|1957||Gateway of India||Anju|
|1957||Ek Saal||Usha Sinha|
|1958||Kala Pani||Asha||Dev Anand, Madhubala, Nalini Jaywant, Bir Sakuja, Agha|
|1958||Howrah Bridge||Edna||Ashok Kumar, Madhubala, K.N. Singh, Om Prakash, Madan Puri, Dhumal, Kammo, Sunder, Brahm Bhardwaj, Helen, Mehmood, Minoo Mumtaz, Chaman Puri, Nirmal Kumar|
|1958||Chalti Ka Naam Gaadi||Renu||Kishore Kumar, Madhubala, Ashok Kumar, Anoop Kumar, K.N. Singh, Minhaj Ansari, Helen, Veena, Mohan Choti, Sajjan, Sahira|
|1959||Kal Hamara Hai||Madhu/Bela|
|1959||Insaan Jaag Utha||Gauri||Madhubala, Sunil Dutt, Nazir Hussain, Madan Puri, Bipin Gupta, Minoo Mumtaz|
|1959||Do Ustad (1959)||Madhu Sharma|
|1960||Mehlon Ke Khwab||Asha||Also the producer of the film|
|1960||Barsaat Ki Raat||Shabnam||Bharat Bhushan, Madhubala, Shyama, Mumtaz Begum, K.N. Singh|
|1960||Mughal-e-Azam||Anarkali, Nadira||Nominated—Filmfare Award for Best Actress||Prithviraj Kapoor, Madhubala, Dilip Kumar, Durga Khote, Nigar Sultana, Ajit, Murad, M. Kumar, Sheila Dalayya, Jillo|
|1961||Passport||Rita Bhagwandas||Pradeep Kumar, Madhubala, K.N. Singh, Mumtaz Begum, Nazir Hussain, Tun Tun|
|1961||Jhumroo||Anjana||Kishore Kumar, Madhubala, Lalita Pawar, Jayant|
|1961||Boy Friend||Sangeeta||Shammi Kapoor, Madhubala, Dharmendra, Dhumal, Maruti Rao, Mahendra, Amirbai Karnataki, Radheshyam, Sudesh Shivraj, Mohan Choti, Moolchand|
|1962||Half Ticket||Rajnidevi/Asha||Kishore Kumar, Madhubala, Pran, Shammi, Manorama, Helen, Pradeep Kumar, Mini Chatterjee, Tun Tun|
|1964||Sharabi||Kamala||Dev Anand, Madhubala, Daisy Irani, Lalita Pawar, Sulochana Latkar, Ram Mohan, Badri Prasad|
Only colour film
|Sunil Dutt, Sohrab Modi, Madhubala, Pran, Goga Kapoor, Ulhas, David Abraham, Gajanan Jagirdar, Raj Mehra, Asha Parekh, Kamala Laxman, Vijaylaxmi, Lalita Pawar, Leena, Nazar, Sabina|
In July 2018, Madhubala's sister, Madhur Bhushan, announced that she is planning to make a biopic on her sister. She will not be directing the film but has urged other filmmakers not to plan any biopics on the same subject. Actress Janhvi Kapoor has expressed her wish to play Madhubala. However as of now, the project remains to be at initial stages.
- Booch, Harish and Doyle, Karing.(1962). Self-Portraitt. Bombay: Jai Gujerat Press. pp. 75-78.
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