“Was I in love with Madhubala as the newspapers and magazines reported at that time? As an answer to this oft-repeated question straight from the horse’s mouth, I must admit that I was attracted to her both as a fine co-star and as a person who had some of the attributes I hoped to find in a woman at that age and time. We had viewers admiring our pairing in Tarana and our working relationship was warm and cordial. She, as I said earlier, was very sprightly and vivacious and, as such, she could draw me out of my shyness and reticence effortlessly. She filled a void that was crying out to be filled — not by an intellectually sharp woman but a spirited woman whose liveliness and charm were the ideal panacea for the wound that was taking its own time to heal.

“The announcement of our pairing in Mughal-i-Azam made sensational news in the early 1950s because of the rumours about our emotional involvement. In fact, K. Asif (the film’s director) was ecstatic with the wide publicity and trade enquiries he got from the announcement. It was not anticipated or planned that it would be in production for such a long period as it was and Asif was aware of Madhu’s feelings for me because she had confided in him during one of their intimate talks. And, he was equally aware of my nature as a man who made no haste in taking critical personal or professional decisions. As was his wont, he took it upon himself to act as the catalyst and went to the extent of encouraging her in vain to pin me down somehow. He went on to advise her that the best way to draw a commitment from an honourable and principled Pathan, brought up on old world values, was to draw him into physical intimacy.

“In retrospect, I feel he did what any selfish director would have done for his own gain of creating riveting screen chemistry between actors who are known to be emotionally involved. Also, I sensed Asif was seriously trying to mend the situation for her when matters began to sour between us, thanks to her father’s attempt to make the proposed marriage a business venture.

“The outcome was that half way through the production of Mughal-i-Azam, we were not even talking to each other. The classic scene with the feather coming between our lips, which set a million imaginations on fire, was shot when we had completely stopped even greeting each other. It should, in all fairness, go down in the annals of film history as a tribute to the artistry of two professionally-committed actors who kept aside personal differences and fulfilled the director’s vision of a sensitive, arresting and sensuous screen moment to perfection.

Photo courtesy: Guddu Film Archive

“Contrary to popular notions, her father, Ataullah Khan, was not opposed to her marrying me. He had his own production company and he was only too glad to have two stars under the same roof. Had I not seen the whole business from my own point of view, it would have been just what he wanted, that is, Dilip Kumar and Madhubala holding hands and singing duets in his productions till the end of our careers. When I learned about his plans from Madhu, I explained to both of them that I had my own way of functioning and selecting projects and I would not show any laxity even if it were my own production house.

“It must have tilted the apple cart for him and he successfully convinced Madhu that I was being rude and presumptuous. I told her in all sincerity and honesty that I did not mean any offence and it was in her interest and mine as artistes to keep our professional options away from any personal considerations. She was naturally inclined to agree with her father and she persisted in trying to convince me that it would all be sorted out once we married.

“My instincts, however, predicted a situation in which I would be trapped and all the hard work and dedication I had invested in my career would be blown away by a hapless surrender to someone else’s dictates and strategies. I had many upfront discussions with her father and she, not surprisingly, remained neutral and unmoved by my dilemma. The scenario was not very pleasant and it was heading inevitably to a dead end. In the circumstances, therefore, it seemed best that we did not decide to marry or even give each other a chance to rethink because my resolve by then had become strongly against a union that would not be good for either of us.”— Extract taken from the actor’s autobiography Dilip Kumar: The Substance and the Shadow published last year

Published in Dawn, Sunday Magazine, January 18th, 2015

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