Kidar Sharma, the well known Bollywood film producer and director, signed 13-year- old Madhubala as the heroine for “Neel Kamal”. She was cast opposite Raj Kapoor who made his debut as a hero with this film. Sharma observed once that of the two it was Madhubala who was more spontaneous and intuitive. She would often act out scenes for Raj Kapoor if he found them difficult.

Even as a teenager, confidence and laughter would be her guiding motive. Between 1947 and 1949 she had a phenomenal number of releases. Seventeen films in two years!

Although she never had any formal education she succeeded in learning English in just three months. Her teacher Sushila Rani, wife of Baburao Patel publisher of Film India recalled “She was my most brilliant student”. She is equally fulsome in her praise of Madhubala's beauty. “When her father brought her to me the first time, I thought an apsara (supernatural female being) had descended from heaven”. She was wearing no make up -- her dazzling smile and lovely olive complexion required no artificial aid. She was well-built and a complete natural.

With “Mahal”, Madhubala tasted her first major success as a heroine. The far away look in her eyes as she swayed gently on the garden swing singing “Ayega aanewala . . . ayega”, before fading away into the mist, is one of the most enduring images of Indian cinema.

The studio was for Madhubala her workplace and playground. She extracted her moments of pleasure before the clock struck six. “She was quite a tease,” remarks Dev Anand. “Extremely playful she would egg you on and then hold back”. He describes her as a schoolgirlish tomboy, a little immature, just stepping into her teens. “She would burst into peals of laughter for no particular reason and we would have to wait till her laughter subsided.”

Script writer Abrar Alvi recalls an incident “We were shooting a song for 'Mr. & Mrs. 55' on the outskirts of Bombay; I had been dragged along by Guru Dutt. It was a hot day so I made myself comfortable under a tree. Suddenly I was startled by a female voice saying 'Maan liya, jaga bahut khub dhundi hai . . . ' It was Madhubala who came and sat down next to me very close. Being from a typical Muslim background, I was most uneasy with her proximity and extremely conscious of the unit's eyes on us. But she was least aware of all this.” This was the star's way of enjoying lighter moments as she slogged to fill her father's coffers.  Madhubala was most playful seeking an escape from her regimented life.

 K. Asif's “Mughal-e-Azam” which took 10 long years to make is, perhaps, one of the most passionate films of Hindi cinema, in no small measure due to Madhubala's searing performance. Her coquettish expression as she seduced the heir-apparent of the Mughal throne with “Mohe panghat pe Nandalal ched gayo re”, the fire in her eyes as she defiantly sings “Pyar kia to darna kya” and the pure angst as she cries “Mohabbat ki jhooti kahani pe roye”, whilst being dragged to the dungeons in chains, show the entire range of emotions of a star-crossed beloved.

The romantic scene in the garden when Prince Salim strokes Anarkali's face with a feather, to the strains of Bade Ghulam Ali Khan's music in the background, is one of the Hindi cinema's most sensuous scenes.

The stunning beauty that she was,  Madhubala captivated audiences with her expressive eyes, mischievous giggles, lopsided smile, half husky whispers and impish sensuality. Success followed her devotedly.

Madhubala's unique allure was known worldwide. She had featured in many American magazines, including LIFE magazine which printed many of her photographs. Theatre Arts magazine of Hollywood carried a feature length article on Madhubala calling her The Biggest Star in the World. Her photos mesmerised the world and offers started trickling in. If fate had her sway then Madhubala would have ruled the roost in Hollywood but her father tampered with her destiny and we are left with a sense of what could have been.

Madhubala had a congenital heart problem. It was only many years later in 1959, when Madhu fainted during the shooting of “Mahalon Ke Khwab” that she was taken to a well known cardiologist who diagnosed Madhubala's heart problem, for which there was no cure in those days.

Though the medical fraternity did not give her much time, Madhubala lived for nine years bedridden. Having got accustomed to stardom and adulation, she found it difficult to lead a life away from the arc lights.

The writer is a connoisseur of music.