Draft:Ataullah Khan

In 1941, Khan moved his family to Bombay (now Mumbai), in a tin shed at Malad. Mumtaz quickly earned an acting role in Bombay Talkies' production Basant (1942), for which she was paid a sum of {{INR}}150. However, the studio had no further need of a child actor afterwards, and Khan was forced to return to Delhi, where he found temporary low-paying jobs, but continued to struggle financially. Khan was eventually summoned by Devika Rani, the head of Bombay Talkies, in 1944, following which he decided to settle permanently in Bombay, seeing a prospect for Mumtaz in films.

In 1941, Khan moved his family to Bombay (now Mumbai), in a tin shed at Malad. Mumtaz quickly earned an acting role in Bombay Talkies' production Basant (1942), for which she was paid a sum of {{INR}}150. However, the studio had no further need of a child actor afterwards, and Khan was forced to return to Delhi, where he found temporary low-paying jobs, but continued to struggle financially. Khan was eventually summoned by Devika Rani, the head of Bombay Talkies, in 1944, following which he decided to settle permanently in Bombay, seeing a prospect for Mumtaz in films.

The family re-settled in the cowshed in Malad, which was soon destroyed in the Bombay dock explosion that followed; the family survived as they had gone to a local cinema. Khan was later provided shelter by a friend. In 1944, Mumtaz auditioned at Ranjit Studios and was signed to a three-year contract under which she worked as a child star and earned {{INR}}300 per month. She subsequently transitioned to adult roles in 1947, adopting the screen name Madhubala.

1944 dock explosion

Since at age of seven, Madhubala served as the primary breadwinner of the Khan family. Her sister Zahida has asserted that Khan did not force Madhubala into work: "My sister loved to sing and dance and was fond of music and poetry. It's wrong to accuse my father of compelling her to work in films—films came her way, he never pushed her into anything. [...] He couldn't imagine he'd get so caught up chaperoning her that he'd never get back to working himself."

In 1944, Mumtaz auditioned at Ranjit Studios and was signed to a three-year contract under which she worked as a child star and earned {{INR}}300 per month. She subsequently transitioned to adult roles in 1947, adopting the screen name Madhubala, and became one of the biggest Hindi film stars by 1950. Throughout her career, Khan would act as her official manager, choosing her films, managing contracts and negotiating fees. His control was also marked by his contract clauses: fixed studio timings from 9 am to 6 pm (?), no visitors allowed on set, full script in advance and limited media interactions.

Madhubala went on to became one of the biggest Hindi film stars of the era, starring in Mahal (1949), Mr. & Mrs. '55 (1955), Chalti Ka Naam Gaadi (1958) and Mughal-e-Azam (1960). Throughout her career, Khan would act as her official manager, choosing her film scripts, managing contracts and negotiating fees. Khan consistently demanded significantly high fees for his daughter, making her the highest-paid star in the industry. He was also controlling and had the following contract clauses: fixed studio timings from 9 am to 6 pm (?), no visitors allowed on set, full script in advance before filming began and limited media interactions. Early in her career, Madhubala was diagnosed as having a heart condition (ventricular septal defect), which Khan managed to keep a secret to avoid jeopardizing her career.

He kept her heart condition a secret.

Khan entered into a conflict with the press in 1950. Cultivated friendship with B. K. Karanjia. He later sued a journalist for writing defamatory articles on him and won the lawsuit.

Khan's restrictions were scrutinized heavily in the press and public. He entered into a conflict with the press in 1950 over a smear campaign against Madhubala, which originated from her refusal to entertain a set of journalists on set. The controversy was later offset in 1951 with a mediated apology from journalist B. K. Karanjia, with whom Khan cultivated a friendship. According to Madhur Bhushan, Khan also sued a journalist for writing defamatory articles on his family background and won the lawsuit.

In 1953, Khan co-founded the production house Madhubala Private Ltd. with Madhubala. Their early ventures were Sayyad, starring Prem Nath and directed by Kamal Amrohi, was it was shelved for unknown reasons causing a major financial loss of {{INR}}3 lakhs. Later projects like Mehbooba and Kisan Ki Gai were not finished either, and a historical project titled Shan-e-Awadh was scrapped for no reason other than that the director's late coming infuriated Khan.

Khan became involved in film production in collaboration with P. N. Arora, in two films: Pardes (1950) and Rail Ka Dibba (1953). In April 1953, Khan co-founded the production house Madhubala Private Ltd. with Madhubala. Their early announced ventures were Sayyad, starring Prem Nath and directed by Kamal Amrohi, which was shelved for unknown reasons causing a major financial loss of {{INR}}3 lakhs. Later projects like Mehbooba and Kisan Ki Gai were not finished either, and a historical project titled Shan-e-Awadh was scrapped for no reason other than that the director's late coming infuriated Khan. By 1955, the production house suffered a cumulative loss of {{INR}}7 lakhs, and Khan invited income tax officials to audit the accounts of Madhubala Private Ltd. to officially document the loss.

Khan and Madhubala eventually managed to finish and release their debut production, D. N. Madhok's drama Naata, in late 1955. The film, starring Madhubala and Abhi Bhattacharya, was a failure at the box office; forcing the father-daughter to mortgage a bungalow to recover the financial loss. The film had a polarising reception with the critics: Swatantra vs Filmindia

Khan and Madhubala eventually managed to finish and release D. N. Madhok's drama Naata, their debut production, in late 1955. The film, starring Madhubala and Abhi Bhattacharya, was a failure at the box office; forcing the father-daughter to mortgage a bungalow to recover the financial loss. The film had a polarising reception with the critics: Swatantra vs Filmindia

Through Naata, Khan also brought public recognition to his another daughter, Zeb, under the screen name Chanchal. Chanchal would go on to earn more success in supporting roles in the films Mother India (1957), Jis Desh Mein Ganga Behti Hai (1960) and Jhumroo (1961), but failed to replicate Madhubala's success.

Through Naata, Khan also brought public recognition to his another daughter, Zeb, under the screen name Chanchal. Chanchal would go on to earn success in supporting roles in the films Mother India (1957), Jis Desh Mein Ganga Behti Hai (1960) and Jhumroo (1961), but failed to replicate Madhubala's success as a leading lady.

=== Naya Daur court case (1956–1957) ===

The legal conflict over the production of Naya Daur.

In 1956, Khan became the central figure in one of the most high-profile legal battles in Indian cinematic history. Madhubala had been signed as the female lead for B.R. Chopra’s Naya Daur. However, conflict arose when Chopra scheduled a 40-day outdoor shoot in Gwalior. Citing concerns for his daughter’s safety in a region then known for dacoity—as well as his established preference for her to work within the controlled environments of Bombay studios—Khan refused to allow her to travel.

When Khan remained firm, Chopra sued both Khan and Madhubala for breach of contract, seeking to recover the advance and damages. Khan, acting as his daughter's manager, contested the suit, leading to a public trial that scrutinized his professional conduct and his perceived "dictatorial" control over Madhubala’s career.

Dilip Kumar's views on him.

Chopra accused him of demanding extra role for Chanchal, and of extortion. The case reached a turning point when the film’s lead actor, Dilip Kumar—who was then romantically involved with Madhubala—testified in open court against Khan. Kumar’s testimony described Khan as an overbearing presence who prioritised his own business interests and authority over his daughter's professional obligations. This betrayal by Kumar effectively ended the couple’s engagement and deeply strained Khan's public image.

Madhubala became very sick by late 1960.

Ultimately, the lawsuit was withdrawn after Chopra achieved his goal of replacing Madhubala with Vyjayanthimala, but the event left a permanent mark on Khan’s legacy. It solidified his reputation in the industry as a fiercely protective, albeit controversial, figure who would go to legal extremes to maintain his daughter's safety and his own parental authority.

The second venture of Madhubala Private Ltd.—Muhafiz Haider's Mehlon Ke Khwab—was finished and released in March 1960. The comedy, starring Madhubala, Kishore Kumar, Pradeep Kumar and Chanchal, was tepidly received by audiences and critics. Mehlon Ke Khwab was shot alongside another film, titled Ghar Jamai, that featured Kishore Kumar and Chanchal. The film was completed but remained unreleased, as it failed to garner any distributor interest.

The second venture of Madhubala Private Ltd.—Muhafiz Haider's Mehlon Ke Khwab—was finished and released in March 1960. The comedy, starring Madhubala, Kishore Kumar, Pradeep Kumar and Chanchal, was tepidly received by audiences and critics. Mehlon Ke Khwab was shot alongside another film, titled Ghar Jamai, that featured Kishore Kumar and Chanchal. The film was completed but remained unreleased, as it failed to garner any distributor interest.

Khan revived his directorial project, Pathan, in September 1960, and cast Madhubala and Prem Nath in lead roles. However, Madhubala's health was worsening by then, and she was ultimately replaced by Mumtaz. Pathan was released in 1962 and was another commercial failure, causing even more financial constraints for Khan, who was not left with any major source of income after Madhubala stopped working in early 1960s. He initially considered opening a poultry business, but changed his mind later. At the time, he was supported by his son-in-law Kishore Kumar, who was also bearing Madhubala's medical expenses, and Prem Nath.

Khan revived his directorial project, Pathan, in September 1960, and cast Madhubala and Prem Nath in lead roles. However, by then Madhubala's health was worsening due to her heart condition, and she was ultimately replaced by Mumtaz. Pathan was released in 1962 and was another commercial failure, causing even more financial constraints for Khan, who was not left with any major source of income after Madhubala married Kishore Kumar and retired in early 1960s. He initially considered opening a poultry business and settling in Madras, but changed his mind later. At the time, he was supported by his son-in-law Kishore Kumar, who was also bearing Madhubala's medical expenses, and Prem Nath.

Khan's younger daughters—Shahida and Zahida—also ventured into films in 1967, with Kishore Kumar's Hum Do Daku, but failed to earn any significant success.

Khan became increasingly sick by the late 1960s. Madhubala died in 1969, which left him devastated. In 1975, he succumbed to a cardiac arrest, third in a row.

Khan's later life was marked by isolation. With Madhubala becoming bedridden, he himself struggled with health issues of old age (?). His younger daughters—Shahida and Zahida—also ventured into films with Kishore Kumar's comedy Hum Do Daku (1967), but failed to earn any significant success. Madhubala died in 1969, which left Khan devastated. In 1975, he succumbed to a cardiac arrest, third in a row.

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