By Hindustan Times
Ayega ayega, ayega aanewala ayega… It’s been 43 years since Madhubala bid the arena adieu, but even today, I FEEL that I’ll look out of the window and find her on a swing, beckoning me over in Lata Mangeshkar’s haunting voice to sign up for her on a journey beyond. Friends will say I’m fanciful…maybe I'M. But for me, Madhubala is to Bollywood what Marilyn Monroe is to Hollywood. A picture-perfect portrait whose colours haven’t faded with time and whose magic remains undiminished!
Hard to believe that during the early 1940s, movie moghul Savak Wacha, Ashok Kumar’s producer partner in Bombay Talkies studio, was untouched by her ethereal beauty and insisted that singing star Suraiyya would make a more alluring Kamini in Mahal. When Kamal Amrohi, who had sold him his script at the condition that he be allowed to direct the film, tried to argue Madhubala’s case, Wacha mentioned to him that Ashok Kumar and Suraiyya made a salebale pair and may have the ability to sell his off-beat ghost story on the box-office.
But Kamal sahab was adamant. Madhubala, he insisted, suited the role best. Why didn’t they no less than take her screen-test before ruling in favour of the ‘superhit’ Suraiyya? Reluctantly, Wacha succumbed to Kamal sahab’s repeated requests, but not before quietly instructing cinematographer, Joseph Wirching, who was at the company’s rolls, to debris up the test.
The German was pretty much as good as his word. Madhubala had never looked so bad. Kamal sahab was aghast, Wacha exultant! Now, it could must be Suraiyya. “Sure,” nodded Kamal sahab. “But am i able to do another test with Madhubala before we sign up Suraiyya?”
Wacha gave in again to the debutant director’s request, confident that he would eventually comply with the preferred choice. But this time the astute Kamal sahab was prepared. He insisted on arranging the lights himself and supervised Wirching’s shoot. And the test results were mind-blowing! Everyone, including the shame-faced Wacha agreed that Madhubala made a bewitching bhoot (ghost) and Kamal sahab got his first movie as a director rolling in high spirits.
The film opened to eerie silence. Mahal ended with Kamini being unmasked and never a single reaction from the dumb-struck audience. Nobody would even check out Kamal sahab’s eyes, convinced he had gone stark crazy to have made a movie like this. It was a surefire debacle! Even star-producer Ashok Kumar who had surrendered to Kamal sahab’s vision had a moment’s doubt. Only Kamal sahab was supremely confident the film would work. And it did. Made on the cheap of R9 lakh, it went directly to do a business of Rs 30 lakh in Bombay and Delhi alone. And turned the fortunes of the sinking studio!
Mahal also marked a brand new beginning for Kamal sahab as a director and was a milestone within the career of Madhubala. She was paid barely Rs 10,000 for the movie, but earned millions relating to adulation. Everyone of Khemchand Prakash’s songs topped the charts, nevertheless it was nightingale Lataji’s ‘Ayega ayega, ayega aanelawal ayega…’ that has echoed down the decades.
A couple of days ago, sitting in a darkened theatre, I USED TO BE transported into another black-and-white world by Michel Hazanavicius’s The Artist. Berenace Bejo has little resemblance to Madubala aside from a superbly mobile face. Together with her saucy winks and sunny smiles, her soundless whistles and silent sobs she made me smile and sigh similar to Madhubala had.
Mahal and The Artist—the two films are poles apart yet there’s a connection. Could also be it’s within the conviction of 2 filmmakers separated by countries and decades to hold off a daring gamble… Maybe it’s within the magic of the monochromatic hues that remove darkness from the screen… Maybe it’s within the mesmerising misses who effortlessly trip into your heart and stay in your mind long after the movie is over. Mahal has got its share of accolades… May the Oscars visit The Artist now!
