Kishore Kumar-Madhubala equation: Dispelling a few myths

Twenty third of February 1969, a Sunday, was a day of joy for the people of East Pakistan, when Sheikh Mujibur Rehman was accorded a grand reception post his release from prison in Dacca and conferred the title Bangabandhu. Two thousand km away in Bandra, Madhubala was awaiting another release, wrapped in a blanket, almost her entire body covered, including those strands of hair and the twinkling eyes which once had a spell so exquisite, it required a conspiracy to break it.

Kishore Kumar, her husband, had plans for an engagement in Calcutta, but its confirmation hinged on his wife’s delicate health. His father-in-law, Attaullah Khan, insisted that Kishore sleep by the phone, ever-ready for the inevitable. At 9 PM, the dreaded call came—a final, irrevocable summoning.

The tickets cancelled, the rug removed, the panting stopped, and the oxygen cylinder valve closed. And thus ended one of the quirkiest marriages in the annals of Hindi film industry.

Quirky because husband Kishore was either projected as a husband no girl would want to have or as someone who every girl would wish as her husband. Extremes if ever there was one and in sync with Kishore’s other traits -miser or altruist for example.

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The spark between Kishore Kumar and Madhubala ignited in a manner as subtle as it was inevitable. Their paths first crossed during Dhake Ki Malmal, when Dilip Kumar would frequently grace the sets during breaks. Kishore, the intermediary, would carry messages between Madhubala and Dilip when direct encounters were difficult. Yet, it wasn’t until the making of Chalti Ka Naam Gaadi that love truly bloomed between them. Both, weary from past heartbreaks, found solace in each other. Kishore was captivated by Madhubala’s ethereal beauty, while she was drawn to his infectious sense of humour.

Kishore Kumar (left) and Madhubala (right)

It was in April 1959, that Madhubala made her health - till then a well-guarded family secret - known to the world, although she had been carrying this since long. That her condition was life threatening was confirmed by Dr Rustom Vakil, one of India’s leading cardiologists she vomited and fainted on the sets of Bahoot Deen Huye. It was then decided to treat her abroad and operate the heart if necessary.

Though Madhubala often brushed aside discussions of her illness in public, the nagging truth lingered in the quiet corners of her mind. In November 1959, when the shoots of Suhana Geet and Jhumroo—both with Kishore—came to a halt due to her declining health, a shift took place within her. She no longer sought to just survive; she yearned to savour every fleeting moment of joy. For her, the idea of dying as anything but a spinster was an impossibility. And so, in the face of mortality, the irreverent, carefree Kishore became the obvious choice—a man who lived with abandon, unafraid of the chaotic unpredictability of life.

Attaullah Khan had offered Kishore the option of marrying Madhubala after her surgery, but doing so would have defied what seemed to be Madhubala's last wish—to marry before the operation. The couple, however, found themselves in a precarious position: finances were stretched thin, weighed down by a recent alimony payment, and time was slipping away.

Despite this, Madhubala clung to a fragile hope that the doctors in London might offer a solution that her Indian doctors had not. That elusive cure, she thought, awaited her in London. So, while Madhubala was mulling over her London visit, the couple were not even married. Kishore, fully aware of the gravity of her condition, could have easily walked away, especially as her illness progressed rapidly. Yet, he chose to stay, a decision that would shape the course of their lives.

Kishore was still technically married to his first wife, Ruma, when he and Madhubala decided to marry. It wasn’t until his divorce and amid the distractions of a couple of home productions that he tied the knot with Madhubala on October 16, 1960, in a civil ceremony, due to their religious differences. Kishore’s parents, disapproving of the union, refused to attend the ceremony, which, according to some reports, was held in a bed. To appease the situation, a Hindu ceremony followed, and the couple moved into Gauri Kunj.

However, after about a month, Kishore had Madhubala move to a rented flat on Turner Road, near her Bandra house. While he cited the constant noise from passing aircraft as the reason for the change in residence, the underlying tensions between Madhubala and Kishore’s parents could be one more reason for the shift. After some time, with Kishore getting preoccupied with shoots, he moved her to place, Arabian Villa.

In March 1961, Kishore and Madhubala travelled to London via Karachi, accompanied by Dr. S. V. Golwala, in search of a miracle. However, the doctors at the Royal Brompton Hospital, London, after evaluating her condition, refused to perform the surgery. They shared the same grim prognosis as Dr. Vakil, advising that Madhubala avoid stress and embrace relaxation techniques. They estimated that she might live for another year at best. With the dire knowledge of her imminent death, they returned to India. That she existed for another eight years is a different story altogether.

It is not that Madhu was not affected. Before returning, she even tried to commit suicide by jumping from the hotel window. Luckily Kishore who was sleeping had a trigger and his eyes opened, thus foiling the attempt.

Her moods fluctuated violently, her once serene demeanour now overshadowed by the weight of her frustrations. One moment, she would be as cheerful as ever, and the next, she would erupt in angry screams and curses. The illness gnawed at her, turning her personality sharp and unpredictable, and the radiant smile she was once known for seemed to fade into memory.

Medically, she was also advised against having a child, as her fragile health could not bear the strain of pregnancy. The cruel irony was that while she longed for happiness, the very body that once embodied beauty and grace now betrayed her at every turn.

Upon their return, Madhubala continued to reside in Bandra, and Kishore would visit her every evening whenever he was in Bombay. As Gulzar recalls, Kishore would insist on a pack-up at exactly 6 PM during the shooting of Do Dooni Chaar, so he could spend time with her. Alok Dasgupta, the cameraman for Kishore Films, confirms that Kishore rarely returned home before 11 PM and often stayed up the entire night. He would have dinner twice—first with Madhubala and later with his mother at home. This routine, along with the stress of his life, contributed to the weight gain that became his signature look in the 1960s.

During this period, the press was rather unforgiving towards Kishore, as Dasgupta notes, painting a far harsher picture of him than the reality. This stands in stark contrast to the claims made by Madhubala’s sister, Madhur (aka Zahida), who mentioned that Kishore had abandoned her, visiting only once every few months.

The reality of their relationship was far more complex, marked by devotion and sacrifice on Kishore’s part, despite the harsh external judgments they faced. Zahida, along with one ally in the industry—Naushad—claimed that Kishore treated Madhubala poorly, a view that was contested by those close to her. Ruma dismissed the Bombay press’s portrayal of Kishore, defending him against their unflattering narratives. On the other hand, well-known dialogue writer Vrajendra Gaud described Kishore’s love for Madhubala as “exemplary,” noting that he was a man who “parted with his laughter and bargained for her tears.”

While Iftekhar finds, Kishore’s sacrifice, “stuffs legends are made of”, Pran in an article titled Mera Yaar Kishore Kumar states that the way he cared for Madhubala is an example in itself. Dilip Kumar, whose brother’s tomb lay besides Madhu acknowledges that Kishore sacrificed his acting and singing career trying to save Madhubala. “Lonely and financially strained, he failed to save her”

Dilip Kumar was likely aware that Kishore Kumar bore the full brunt of Madhubala’s medical expenses. In fact, after the release of Jhumroo, Kishore Films shut down for a long time, a reflection of the toll the situation took on him.

Kishore, who had remained stoically silent about the affair for years, eventually cleared the air in a few interviews. He expressed sympathy for her outbursts, understanding that his own wife had been bedridden for years. He had to humour her, share her laughter, and bear her tears.

“I have not revealed my pain anywhere,” he admitted. “I kept everything to myself, and as a result, people got the freedom to spread everything.”

Madhubala, too, was perplexed by Kishore’s unwavering devotion. In a rare moment of reflection, she confided to respected film historian Isak Mujawar, “I can’t do anything for him. Then why does he love me so much? What happens if he stretches his limits and decides to leave me?”

Their marriage, in all its contradictions, was indeed one of the quirkiest in the history of Hindi cinema—a union defined by sacrifice, love, and an enduring bond that defied expectations.

- By Parthiv Dhar and Anirudha Bhattacharjee

(All references are sourced from Author duo’s bestselling and winner of the National Award for the best book on cinema-Kishore Kumar-The Ultimate Biography)