Kab Se Khada Main Tere Liye - Laxmikant Pyarelal* - Do Dilon Ki Dastaan / Ghar Ek Mandir (CD)
Kisi shaayar ki ghazal G Jaise baarish kar de tar G Banno tera swagger AA Jugni dugni dhaar kataari. GGD, D Murshid mera.
Murshad mera. Hey hey! Yes, yes yes yes Kyun? Tu leya de meinu golden jhumke. Agrani sundara aa De de pyaar de Aali ga aali Aali ha aali Oh Maharani aali De de pyaar de pyaar de pyaar de re hamein pyaar de Tu deewani hai.
Paakeezah hasti hain teri Tu noorani hai. A choone ki aasha G. G FE EE A Dil-e-nadaan tujhe huaa kya hai. E ghan, dham, dham, kare, garjaaye EG A Baahon mein falak hota hai. Kyon Bhatakte hain. Paava goriyan tere gal pava, dil chech chupale soniya. Oh gala goriyan de goriyan tu kar sajna, Ve gala goriyan de goriyan. D phir bhii, jaan-e-jaa. Paas aao gale se laga lo G. Sharma ke apna aanchal lehra do.
C Paas aao gale se laga lo. Tere ishq ki mujhko. Aadat hai o. Yaariyan Yaariyan ve Fm kab se hain dil me mere…. Raaat bhar dhooan jale G. C dhoa jale dhooan jale G. AF, A. Ektu sobuje chokh muchiye de ED Em Dm Areyjumme ki raat hai Kabhi al.
Ae ae Kaho na pyar hai, B. DC Haan tumse pyar hai, B. DC Kahan na. Yesudas, Asha Bhosle Natwarlal Artiste: Asha Bhosle And Mrs. Artistes: Geeta Dutt, Mohammed Rafi Artistes: Mohammed Rafi, Geeta Dutt Batish,Mohammed Rafi Batish, Sudha Malhotra Johar Qayamat Hai Film: Mr. Vidya Artiste: Mukesh Preetam Aan Milo Film: Mr. Artiste: Geeta Dutt Ibteda Album: Mirza Ghalib T. Serial Artiste: Jagjit Singh Serial Artistes: Jagjit Singh,chorus Artiste: Jagjit Singh Dil Tarasta Hai Album: Stop!
Burman,Suresh Burman, Sapan Chakraborty Hariharan Tum Gagan Ke Chandrama Ho Balasubrahmanyam, Lata Mangeshkar Janaki,Javed Jaffrey Artiste: Shamshad Begum Artiste: Asha Bhosle Artistes: Lata Mangeshkar, Mahendra Kapoor Janaki, Shailender Singh Yesudas, Hemlata Aashiq Artiste: Kumar Sanu Yesudas, Haimanti Sukla Balasubrahmanyam, Ursula Vaz Balasubrahmanyam, Udit Narayan,Shailendra Singh Subbalakshmi, Radha Viswanathan Shoma Ghosh Malik 4.
Trolley Driver 5. Lambu 6. Inaam 7. Bilwamangal 8. Mirza Ghalib Chaudvin 9. Shama Parwana Sahebzadi Aalam Waris Mashooka Deewana Goonj Khubsurat Lal Kunwar Moti Mahal Do Sitare Rajput Sanam Afsar Badi Bahen Dastan Indira Kamal Ke Phool Khiladi Nili Shaan Jeet Amar Kahani Balam Bombay Char Din Dillagi Duniya Lekh Naach Shair Rani Shayar Singaar Aaj Ki Raat Gajre Kajal Pyaar Ki Jeet Rang Mahal Shakti Vidya Bhatakti Maina Dak Bangla Dard Do Dil Do Naina Naatak Parwana Gopi Anmol Ghadi Chehra Jag Biti Main Kya Karun Phool Tadbir Saguna Hamari Baat Ishara Station Master Usha Tamanna Taj Mahal Do Dil playback singer 2.
Rustom Sohrab playback singer 3. Shama playback singer 4. Malik playback singer 5. Taqdeer playback singer 6. Trolley Driver playback singer 7. Lambu playback singer 8.
Bilwamangal playback singer 9. Mirza Ghalib playback singer Waris playback singer Mashooka playback singer Deewana playback singer Goonj playback singer Khubsurat playback singer Lal Kunwar playback singer Moti Mahal playback singer Rajput playback singer Sanam playback singer Afsar playback singer Badi Bahen playback singer Dastan playback singer Kamal Ke Phool playback singer Nili Kab Se Khada Main Tere Liye - Laxmikant Pyarelal* - Do Dilon Ki Dastaan / Ghar Ek Mandir (CD) singer Shaan playback singer Jeet playback singer Amar Kahani playback singer Badi Bahen playback singer Dillagi playback singer Duniya playback singer Lekh playback singer Naach playback singer Shair playback singer Singaar playback singer Gajre playback singer Rang Mahal playback singer Shakti playback singer Vidya playback singer Dak Bangla playback singer Dard playback singer Do Dil playback singer Naatak playback singer Anmol Ghadi playback singer Jag Biti playback singer Tadbir playback singer Kanoon playback singer Sharda playback singer Soundtrack: 1.
Shagoon producer as Suraiya Mubin Thanks: 1. Lyrics composed by Tanvir Naqvi. Music composed by Naushad Ali. This movie had some very popular songs sung by Noor Jahan and Suraiya.
Here are the Suraiya songs: mai dil mei dard basaa laayi lyrics for mai dil mein dard basa laayi, nainon se nain mila aayi, unko apne man ki baatein bina kahe samjha aayi. Daaii, jIvan pe javAnI chhaaI. Lyrics composed by Rajinder Krishan. Music composed by Husnlal Bhagatram. Producer: Minal Movies Director: D. Madhok Lyrics: D. Madhok Music Director: Bulo C. Lyrics composed by D. Music composed by Ghulam Mohammad. The movie was about the legendary poet Mirza Ghalib and his poems have been sung here.
Nd ban ke aanaa. Mumtaz was also in the movie. This was Suraiya's last film. After this she retired. Lyrics composed by Qamar Jalalabadi. Music composed by Sajjad Hussain. Lyrics composed by Majrooh Sultanpuri. Director: G. Tridevi Producer: Jeet Prod. Music Director: S. Burman Lyrics: Shanti Swaroop and Y. Joshi aaj meraa dil kisi pe Kab Se Khada Main Tere Liye - Laxmikant Pyarelal* - Do Dilon Ki Dastaan / Ghar Ek Mandir (CD) gayaa jhoom rahi khushiyon ki naaow aaj kinare-2 chale jayenge jeewan naiya kise maalum tha 2 din me sawan beet o Krishna Kanhaai aashaon ki duniya laayi khushi ki duniyaa hanste hue Suraiya was joined by Mukesh in the above song.
One of the few duets they sang together. Please note that the duet version of this song is more popular and can be found at the Suraiya and Talat Mahmood duets page by using the following link. Lyrics composed by Shakeel Badayuni. Music composed by Naushad. Raj Kapoor's voice seems to be heard here.
Suraiya and Talat Mehmood sang the song and it was also filmed on them. Lyrics were composed by Mirza Ghalib in late 18th century. Suraiya sang her own songs and Talat Mehmood was playback singer for Bharat Bhushan. Music composed by Anil Biswas. D ik baar, man kaa sitaar.
D man kaa sitaar. Burman, was one of the most famous music composers for Hindi movies and a Bengali singer and composer. His son Rahul Dev Burman also achieved great success as a Bollywood music director in his own right. Burman proved that age is no impediment for creativity. He was the only great composer who remained in high demand right till the end of his life, unlike his contemporaries who gradually faded away.
His greatest gift lay in the fact he could be equally jazzy and trendy in a dhoti. His grip on Indian folklore, his sound classical base, his capacity to absorb from the scene around him made him the greatest all-rounder in Indian Film Music. And to think he never sat down on a harmonium to compose! His tunes would come to him in a flash on a long walk or a drive or even out fishing at sea!
Sachin was the youngest of the five sons, of his parents, who had nine children in all. He did his B. Sachin left home after he came to know about his brother's evil interests against him. He wandered for years in the forests of Assam and Tripura from where he gained his formidable knowledge and rich repertoire of the rich folk of that region and Bengal. He made a reputation in Bengal as a folk singer and light classical music and learnt more under the illustrious K. Early work for radio was based on East bengali and North eastern folk-music.
It was at this time that he had his first break with All India Radio, Kolkata, where his early work was based on East Bengali and Tripuri folk-music, and soon made a reputation for himself in folk and light classical music, consequently his film compositions were often influenced by his huge repertory of folk-tunes from the Bengali, Bhatiali, Sari and Dhamail traditions of Tripura Kingdom.
In the same year, his first record was also released Hindustan Musical Productwith "Khamaj" semi classical, E Pathery Aaj Eso Priyo on one side and the folk Dakle Kokil Roj Bihane on the reverse side" on 78 rpm for Hindustan Records in and the record became a hit big enough to establish Sachin Dev Burman as a kingpin of Bollywood music.
In early 30s made a reputation in bengal as singer of folk and light classical music, e. But then he got another break in Tinkari Chakravarty's Sanjher Pidim SD sang in the Calcutta - made Hindi film Seeta He also scored music for Rajkumar Nirshoney, a Bengali film, in Later in the year he was invited to Bengal Music Conference, Kolkata, which was inaugurated by Rabindranath Tagore, here again he sang his thumri, and was awarded a Gold Medal.
His first stint at music composition started with Bengali plays, Sati Tirtha Kab Se Khada Main Tere Liye - Laxmikant Pyarelal* - Do Dilon Ki Dastaan / Ghar Ek Mandir (CD) Janani, eventually gave his first score was in in the Bengali film Rajgee.
Burman with some of the musical compositions. S D Burman also did a singing role in Urdu film Selima and another role in Dhiren Ganguli's film, Bidrohi his second film Rajkumarer Nirbashan became a hit, there was no turning back after that.
He continued giving music in Bengali cinema, even after he moved to Bombay inand started the second inning of his musical career, giving music for over 17 Bengali films in the all. Inat the request of Sasadhar Mukherjee of Filmistan, who asked him to give score for two Ashok Kumar starrers, Shikari and Aath Din, However these two hits were not big enough to earn him a niche in the big bad world of Bombay music.
Incame Shabnam, his biggest hit yet with Filmistan, especially noticeable for its multi-lingual hit song Yeh Duniya Roop ki Chor, by Shamshad Begum, which became a rage in those days. Disillusioned with the materialism of Bombay, S D Burman left the Ashok Kumar starrer Mashaal incomplete and decided to board the first train back to Calcutta. Fortunately, he was dissuaded from doing so. Just when he was calling it quits, Ashok Kumar requested Sachin Dev Burman to compose for Mashaal which instantly took the composer to the pinnacles of success.
During this time he offered guiding hands to Asha Bhosle, Kishore Kumar, Geeta Dutt, Manna Dey and many other such experts whose names today stand for themselves. The songs sung by Mohammad Rafi and Kishore Kumar became popular. Burman da composed the music for Dev Anand's production company Navketan's first film Afsar With the success of their second film, Baazi he made it to the top and a long association with Navketan and Dev Anand was on its way.
While every song in the film was a hit, one stood out for special appeal - "Tadbir se Bigdi Hui Taqdeer", a ghazal that was occidentalized into a seductive song. The soundtrack of Devdas was also composed by him. House No. Thus, he was responsible along with O.
Nayyar for shaping Asha Bhosle as a singer of repute, who became his daughter-in-law after she married Rahul Dev Burman. Early on in his career, he refused to allow his voice be lip-synced on film by actors, as a result, even later on, in Hindi cinema, his thin yet powerful voice was often used as bardic commentary to haunting results, as in Ore Majhi Mere Sajan Hai Us Paar BandiniWahaan Kaun hai Tera from "Guide" and finally Safal Hogi Teri Aradhana from Aradhanafor which he received the National Film Award for Best Male Playback Singer for the year, Ill health caused a slump in his career in the early s but he gave many hit films in late s.
They reconciled their differences and started working again in This song is based on a Bengali composition by Kazi Nazrul Islam, Aruno-kaanti ke go jogi bhikaari, based on raga bhairavi morning raga . In Bandini, Sampooran Singh well known as Gulzarmade his debut as a lyricist with the song "Mora Gora Ang lai le, mohe shaam rang daai de".
Guide starring Dev Anand, was probably the best of his work during the time with all the songs super hit as well as the film; but unfortunately it did not receive the Filmfare award in best music director category for that year, which remained always a discussion among the Bollywood film pandits. Aradhana is considered a landmark score in the Bollywood history. D play the mouth organ. It was responsible in Kishore Kumar's second coming and went on to make him the top male playback singer of Hindi Films.
His thin timbrel-like voice was used for commentaries in Aradhana and Guide. Mentioning some of them will be doing injustice to the rest. He was the reigning music baron of the decades from the s to the s. He worked with the supreme names in Bombay and gave to posterity some of the unforgettable melodies of all times. The films with Dev Anand and Guru Dutt deserve special mention. Shabnam was his most raved about hit with Filmistan.
He holds the record for having the greatest number of hits per film. He was a celebrated singer in intellectual circles of Kolkata. He died on October 31, in Bombay now Mumbai. On October 1,marking his st birth anniversary, India postal department released a commemorative postage stamp, in Agartala, where an exhibition on his life and work was also inaugurated; the the state government of Tripura, also confers the yearly, 'Sachin Dev Burman Memorial Award' in Music.
He passed on the baton to his son Rahul Dev Burman who was definitely the greatest achievement that the Sachin Karta could have had. Tributes to Sachin Dev Burman did not cease with him just as his music did not cease with him.
Agartala Tripurathe royal family of his ancestors has a bridge dedicated in his name. Burman award has also been set up in his honour. A postage stamp was displayed to commemorate his st birth anniversary. Sachin Dev Burman wrote his autobiography called Sargamer Nikhad. Apart from his skill at music, he was known for his professionalism and dedication to his work.
He also set multiple tunes for the same song allowing the film maker to call the final shots. The film Aradhana which established the careers of more than one person like Kishore Kumar, Anand Bakshi etc had Sachin Dev Burman as its music director.
The little known facts are that this great musician was also proficient at the flute and took keen interest in angling, hockey and lawn tennis in the manner of the royalty from which he hailed. A commemorative postage stamp on Sachin Dev Burman was brought out Monday, coinciding with the st birth anniversary of the legendary music maestro and scion of the Tripura royal family that was celebrated with much fanfare here.
Burman centenary celebrations, has renamed the state's music college here after him, and released a music cassette containing 20 of his best songs in Bengali and Kokborok the state's official tribal language ," said Anil Sarkar, Tripura's information and cultural affairs minister. The state government has said that besides preserving and promoting his music, it would also support research on the maestro.
The minister had on behalf of the Tripura government recently led an official delegation to Mumbai to felicitate Meera Dev Burman, the music composer's year-old ailing widow. The st birth anniversary was observed with a daylong programme, which included an exhibition depicting the life and work of Burman, grandson of Tripura's th erstwhile king Ishan Chandra Manikya. On the occasion, the Sachin Dev Burman Memorial Award was presented to well-known singer Sadagar Debbarma, who has composed over songs and played a pivotal role in popularising traditional tribal songs and culture.
Born in Comilla's Chortha village, 85 km south of Dhaka now in Bangladeshon Oct 1,Burman was a noted Bollywood music composer and an all-time great Bengali singer and composer. His son Rahul Dev Burman also made it big in Bollywood as a music director.
Burman was born in the royal family of Tripura and began his training in classical music under his father Nabadwipchandra Dev Burman. Burman's mother Nirupama Devi, who was a princess of the Manipuri royal family, also played a key role by giving inspiration, encouragement and assistance to make him famous," the minister stated.
He left the Tripura palace and went to Kolkata and took shelter in a small rented accommodation and thus began his struggle for existence," said Pannalal Roy, a senior official and editor of a commemorative book on the maestro.
Roy said that after his father's death, the then Tripura king Maharaja Birbikram Kishore Manikya Bahadur offered Burman the post of education minister, but he preferred to remain in the world of music. Sarkar said: "The Tripura government, following a recent resolution of the state legislative assembly, has urged the centre to request the Bangladesh government to take steps for conservation of S.
Burman's ancestral residences in Comilla. Madhubala was born as Mumtaz Jehan Begum Dehlavi in Delhi as the 5th child into a poor, conservative Pashtun Muslim family of 11 children. Mumtaz Begum Jehan Dehlavi, was a popular Hindi film actress who starred in several successful films in the s and early s, many of which have achieved classic and cult status today.
With her contemporaries, Nargis and Meena Kumari, she is widely regarded as one of the most talented and influential actresses to have appeared on the screens of Hindi Cinema.
She was Muslim, the fifth child of a conservative family of eleven children. After Madhubala's father, Ataullah Khan lost his job at the Imperial Tobacco Company, the family endured many hardships including the deaths of four of Madhubala's sisters and her two brothers.
Madhubala and four other sisters remained. A Muslim Holy Man is said to have predicted that the young Mumtaz would earn fame and fortune but would lead an unhappy life and die at a young age. Madhubala, with literal meaning of her name being damsel of honey has continued to be considered with utmost admiration, with multiple generation of Hindi movie goers even today.
Her father, Ataullah Khan was a coachman in Dehli, who migrated to Bombay remembering the holy man's words and also in search for a better livelihood. In search of a better life for his impoverished family, her father relocated them to Mumbai. There they struggled for over a year and often frequented the Mumbai film studios in search of work.
Young Mumtaz entered films at the age of nine. Her first film was the box-office success, Basant in which she played the daughter of the popular actress, Mumtaz Shanti. She then went on to act in several films as a child artist. It was the celebrated actress, Devika Rani, impressed by her performances and potential, who advised her to change her name to Madhubala.
Her talent was clearly evident and she soon garnered a reputation as a reliable and professional performer. By the time she was an adolescent, her uncommon good looks and tall, lissome figure, meant she was already being groomed for lead roles. Until that point, she had always been billed as Mumtaz but after this film she was credited as Madhubala. She was only fourteen years old, but Madhubala had finally arrived on the Indian screen in a lead role.
Though the film was not a commercial success, she was noticed and her performance well received. In the next two years she blossomed into a captivating beauty film media and fans referred to her as the Venus of the Screen. However it was not until she Kab Se Khada Main Tere Liye - Laxmikant Pyarelal* - Do Dilon Ki Dastaan / Ghar Ek Mandir (CD) in the coveted lead role of Bombay Talkies production, Mahal inthat Madhubala became a fully fledged star and a household name.
Audiences enthused over Madhubala's enigmatic screen presence and beauty. Though she was only sixteen at the time, critics widley acknowledged that her subtle and skillful performance upstaged her seasoned co-star, Ashok Kumar.
The film became a popular success and the song Aayega Aanewala heralded the arrival of two new superstars both Madhubala and playback singer Lata Mangeshkar.
In the early s as Madhubala became one of the most sought-after actresses in India, she also attracted interest from Hollywood. She appeared in many American magazines such as Theatre Arts. In their August issue, Madhubala was featured in an extensive article with a full page photo.
It presented the actress as a mysterious and ethereal woman of mythical beauty with a legion of fans. During this period, on a trip to Mumbai and its film studios, the American filmmaker Frank Capra was pampered and hosted by the elite of the Hindi movie industry. However the one star he really wanted to meet was conspicuous by her absence, Madhubala.
A meeting to discuss an opening for Madhubala in Hollywood was proposed by Capra. Madhubala's father declined and put an emphatic end to her potential Hollywood film career.
Madhubala had many successful films following Mahal. With pressure to secure herself and her family financially, she acted in as many as twenty-four films in the first four years of her adult career. Consequently, critics of the time commented that Madhubala's beauty was greater than her acting ability. This was in part due to careless choices in film roles. As sole support of her family, she accepted work in any film, causing her credibility as a dramatic actress to be seriously compromised.
Something she later expressed regret over. Many other hits followed Mahal with a spate of films opposite the leading men of the day- Ashok Kumar, Rehman, Dilip Kumar, and Dev Anand, but by the mids, some of her films flopped. Critics said that Madhubala's beauty was greater than her acting ability, but this was in part due to unwise choices on her part and on that of her father, who was her manager. She was the sole support of a large and desperately poor family, and seemed to take on any role she could get, even if her credibility as a serious actress was compromised.
Madhubala was proposed by three men and turned to Nargis who was a close friend for advice. Nargis suggested that Bharat Bhushan would respect her as he was a widower whereas Pradeep Kumar and Kishore Kumar were already married. However she had already made up her mind on Kishore Kumar as he was like a breath of fresh air in her life.
She accepted as he was the first man who came into her life on the rebound whilst shooting Chalti Ka Naam Gadi and Jhumroo. Her father had informed Kishore that Madhubala would be flying to London for a complicated operation and he could marry her on her return but Kishore knew she wanted to get married before she died and he wanted to fulfill her desire. They had a civil ceremony. His parents refused to attend the wedding and never really accepted Madhubala as they thought she had broken their sons marriage.
When Madhubala went to touch her father-in-law's feet he moved away. Madhubala and Kishore also had a Hindu ceremony to please his parents but they were still not happy. This was all inthe year they were married. She did have aspirations to appear in more prestigious films with challenging roles. Bimal Roy's Biraj Bahu being a case in point. Madhubala having read the novel, was desperate to secure the lead in the film adaptation.
Assuming she would command her market price one of the highestBimal Roy passed her over in favour of a then, struggling Kamini Kaushal. When Madhubala learned that this was a factor in her losing the part, she lamented the fact that she would have performed in the film for a fee of one rupee. Such was her desire to improve her image as a serious actress.
As a star, Madhubala did ascend to the top of the industry. Asif Mughal-E-Azam. She also ventured into production and made the film Naata which she also acted in. During the s, Madhubala proved herself a versatile performer in starring roles, in almost every genre of film being made at the time.
She was the archetypal lady fair in the popular swashbuckler, Badal and was next seen as an uninhibitted village belle in Tarana She was convincing as the traditional ideal of Indian womanhood in Sangdil and was well received in a comic performance as the spoilt heiress, Anita in Guru Dutt's classic satire Mr.
In she had success in historical costume dramas such as Shirin-Farhad and Raj-Hath. Equally successful in contemporary characterizations, she was memorable in a double role in the social film Kal Hamara Hai Madhubala played the cigarette smoking dancer Bella, and her more conventional saintly sister Madhu.
Suddenly in the mids her films, even major ones like Mehboob Khan's Amarfared so badly commercially that she was labelled "Box Office Poison". She turned her career around inwith a string of hit films: Howrah Bridge opposite Ashok Kumar featured Madhubala in the unusual role of an Anglo-Indian Cabaret singer, embroiled in Calcutta's Chinatown underworld.
She made a big impact with a daring for the time Westernized image, with her cascading locks, deep cut blouses, fitted Capri pants and tailored Chinese dresses. Madhubala's sensuous torch song from the film, Aye Meherebaan, dubbed by Asha Bhosle, was a popular hit with audiences, and is widely quoted and celebrated to this day.
Inshe consolidated these successes, and her super-star status when she went on to appear in the epic mega-budget historical, Mughal-E-Azam. This film is widley perceived to be the crowning glory of her career and perhaps the decade of filmmaking in India. It was the film Mughal-e-Azam that marked what many consider to be her greatest and definitive characterization as the doomed courtesan Anarkali.
Director K. Asif, unaware of the extent of Madhubala's illness, required long and grueling shooting schedules that made heavy physical demands on her. Whether it was posing as a veiled statue in suffocating make-up for hours under the sweltering studio lights or being shackled with heavy chains.
From through to Madhubala invested her best efforts into Mughal-e-Azam. Post and her separation from Dilip Kumar, the film's remaining intimate romantic scenes were filmed under much tension and strain between Madhubala and her now estranged co-star.
This emotionally and physically taxing experience is widely perceived as a major factor in her subsequent decline in health and premature death.
On August 5,Mughal-e-Azam released and became the biggest grossing film at that time, a record that went unbroken for 15 years until the release of the film Sholay in It still ranks second in the list of all time box-office hits of Indian cinema inflation adjusted. Despite performing alongside the most respected acting talent of the industry, Prithviraj Kapoor, Durga Khote, and Dilip Kumar, critics recognised and appreciated Madhubala's intelligent and multi layered performance. She received some recognition as a serious actress when she was nominated for a Filmfare Award.
However she did not win, losing out to Bina Rai for her performance in the film Ghunghat In Khatija Akbar's biography on Madhubala see reference sectionDilip Kumar paid tribute to her talent: "Had she lived, and had she selected her films with more care, she would have been far superior to her contemporaries. Apart from being very versatile and an excellent artiste, she had a warm and cheerful nature.
God had gifted her with so many things Init was Mughal-e-Azam that marked one of her greatest performances as the doomed courtesan Anarkali Wali. Sadly, being plagued with a persistent heart disease, she was confined to bed for the last nine years of her life. She did have the odd release in this period like PassportJhumrooBoy FriendHalf Ticket and Sharabibut they were mostly old films that managed to limp towards release but above average at the box-office.
However, most of her other films issued in this period were marred by her absence in later portions when her illness prevented her from completing them. They 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. She was offered strong, author-backed roles, but her deteriorating health did not permit her to enjoy this period and develop as an actress.
At this point Madhubala became so ill that she could not accept any new films or even complete her existing assignments. In the biography by Khatija Akbar, her frequent co-star Dev Anand recalled: "She was so Kab Se Khada Main Tere Liye - Laxmikant Pyarelal* - Do Dilon Ki Dastaan / Ghar Ek Mandir (CD) and full of life and energy.
She was always laughing and enjoyed her work. One could never conceive she was seriously ill. Then one day out of the blue she just disappeared Her last released film Jwala, although filmed in the late s, was not issued untiltwo years after her death.
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