Whenever beauty is talked about in the Indian context with oodles of glamour associated the first name that comes to the mind in most of us is that of Madhubala. Postal Department of India, when it releases a postage stamp in commemoration with her beauty and ethereal charm would be doing a yeomen service to the cause of Indian cinema. While the whole of world is aware about the beauty of Marylyn Monroe hardly ten percent of the world may know about the beauty of Madhubala, it is altogether a different matter that the population of the country may constitute nearly one third of the world and that the oeuvre of Madhubala was more enriched than that of Marylyn Monroe.
When this postage stamp travels to different parts of the world, and it should, then world would come to know what a beauty Indian cinema was blessed with. To capitalize and coincide with this monumental moment, Indian film industry should grab this opportunity to carpet-bomb whole of the world with the beauty of Madhubala.
In the world of glamour, Indian beauty does not find a mention in the same manner as that of the European or USA. This is inspite of the fact that a Madhubala was no less ethereal and childishness personified as an Audrey Heyburn, or as sensual as a Marylyn Monroe. If one were to compare and contrast on this aspect then a Madhubala of CHALTI KA NAAM GADI can outplay any other beautiful lady of her time or for that matter a Madhubala in the famous song from Dev Anand film, KALA PAANI ' Achcha jee main haari chalo maan Jao na… where she is able to convey the emotions from being naughty to coy, to apologetic and submissive. No wonder, no other film star even after more than thirty years of having passed into the sunset would find that her posters vie for a place in the rooms of hostels along with those of the present stars. Madhubala is among the favourites across all generations from time to time.
Her smile is still unparalleled and the thousand-watt energy that she exuded through her smile is still without any parallel and Madhuri Dixit to a certain extent has been able to create that effervescence but Madhubala outscored her in terms of sensuality. It is a conjectural matter altogether that in both the names Madhu and honey is the common factor, and this is what they both did, the sweetness and purity.
It indeed is an opportune moment for the film industry to reposition the image of Madhubala in the eyes of the stakeholders of World cinema and to make them sit up and acknowledge about the quotient of beauty that Indian cinema was endowed with. With the holiday season ready to unfold, even the new channels that are going to mushroom could reposition themselves to catch the eyeballs by running a series of Madhubala films. No channel has done it so far, and it is the opportune moment to do so.