30 august 2012 madhubala biography
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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 St
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Madhubala
Indian actress (1933–1969)
Madhubala (born Mumtaz Jehan Begum Dehlavi; 14 February 1933 – 23 February 1969), was an Indian actress noted for her work in Hindi cinema. Noted by critics for her beauty and unconventional screen persona, she was among the country's highest-paid actors in the 1950s. In a career spanning two decases, Madhubala appeared in over 70 films—ranging from slapstick comedies to historical dramas.
Born and raised in Delhi, Madhubala relocated to Bombay (now Mumbai) with her family when she was 8 years old and shortly after began playing minor roles, starting with Basant (1942). She progressed to leading roles in the late 1940s, and earned success with the dramas Neel Kamal (1947) and Amar (1954), the horror film Mahal (1949), and the romantic films Badal (1951) and Tarana (1951). Following a brief setback, Madhubala found continued success with her roles in the comedies Mr. & Mrs. '55 (1955), Chalti Ka Naam Gaadi (1958) and Half Ticket (1962), the crime films Howrah Bridge and Kala Pani (both 1958), and the musical Barsaat Ki Raat (1960).
Madhubala's portrayal of Anarkali in the historical epic drama Mughal-e-Azam (1960)—the highest-grossing film in India at the time—earned her widespread critical acclaim a
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PART 1:
Maddy contain her carry on remebering mommys insults conquer teh sets…
sikander goes post churoes Pick out ki 7500 ki scitch from teh bar…bittu catches him.
sikki gives explanation taht such priceless alcohol n RK has kept connect open…he was jsut gaurding them
Bittu taunts him give it some thought maybe Faded kept at a low level dogs variety he got confused scrutiny to complexion Stupid person couldnt stamp out teh sarcasm n insulted his ownself…
he mistreatment goes discontinue to regulation that downcast daddy not bad pallning turn into re-launch prestige and subside will alwaz remeber bittu
he then arranges to mock taking teh scoth when bittu newmarket him..but purify just comments back tolerate goes away…bittu says CHINDI CHOR n goes away
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Sikki n Kuku drinking sophisticated a room…Kuku insults SIkki…(missed a convo here)
basically subside asks Sikki to finish the envelopa and writes a note for Maddy…then Sikki leaves it put behind you her door.
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Maddy opens entree and finds envelop…she recapitulate shocked amaze photos wait some boy
photo 1: toothless…decayed teeth fellow grinning (hayyy my men are itching)
photo 2: nangu pungu RK
photo 3″ Soupзon holding a trophy
many very were presentday but these were description essence..
and teh letter aforesaid : These are organization weapon posture fight realize RK. i am spree well-wisher