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1-50 of 122
- An "untouchable" girl and a Brahmin boy fall in love, but the strict caste system and the gossip of the villagers threaten to keep them apart.
- Devdas (Saigal/Barua), son of a zamindar, and Parvati (aka Paro)(Jamuna), his poor neighbour's daughter, are childhood sweethearts. Status and caste differences prevent their marriage and Devdas is sent to Calcutta while Paro is married off to an aged but rich widower. In Calcutta the hero meets the prostitute Chandramukhi (Rajkumari/Chandrabati Devi) but remorse drives him to alcohol and (after a long train journey in which he attempts to run away from himself) he comes to die in front of his true love's house.
- This film chronicles the life of Tukaram (17th century), one of Maharashtra's most popular saint poets, activating the 20th century resonances of his turning away from courtly Sanskrit towards vernacular rhythms of religious poetry which constituted the first major emancipatory movement against Brahmanical caste domination. The episodic plot pits Tukaram (Pagnis) against the Brahmin Salomalo (Bhagwat), who pretends to be the true author of Tukaram's songs while calling for his ostracization.
- Adventure classic featuring Durga Khote's most memorable role as the pirate Queen Saudamini. Faced with extreme patriarchal laws in an ancient seaport kingdom and denied the legal custody of her infant son Sudhir, Saudamini becomes a pirate declaring war on the state, and especially on its tyrannical minister of justice, Durjaya (Chandramohan). She attacks a royal ship and captures Durjaya, inadvertently also taking Princess Nandini (Apte). In captivity, Durjaya declares his love for Nandini but she falls fir a shepherd boy (Nandrekar) who turns out to be Saudamini's long-lost son Sudhir. Durjaya's men then capture Saudamini and a palace intrigue ensues marked by her emancipatory rhetoric and the universal humanist arguments of her adviser Shekhar (Kale).
- About the modern girl of India. Fast cars, fashion and sexual freedom.
- Savita, aka Miss 1936, is an amateur hunter while her brother Jayant is an amateur film-maker. Their father, Maganlal, arrested for the murder of a station-master, is defended by their uncle Shyamlal, who is in fact the mysterious Signal X. Shyamlal causes a major train smash-up so as to promote his new airline. He then implicates hero Sundar, son of the railway president, in the crime. Savita overcomes the nasty Signal X, whose henchmen are caught on film by Jayant as they sabotage a bridge. Nadia indulges in extensive fist-fights, set to heavy sound effects, and a famous battle alongside Sundar atop a moving train.
- Exotic adventure drama juxtaposing feudal pleasures with a new world imagery represented by American modernity. Heroine Chadrakala (Nurjehan), daughter of the dewan of a native king, is educated in England and lives in America. She refuses to marry the prince of her ancestral state, an insult that causes her father to be dismissed. She makes amends by disguising herself as a man and becoming the prince's secretary. A noted sequence set in America features an Indian pilot, Premsingh, who loves Chandrakala and offers to fly her entourage back to India in a Zeppelin, but mid-flight drama forces the passengers to parachute to safety.
- A full-scale stunt movie. The crooked trustees of Lala Niranjamal's estate try to eliminate its two heirs: the daughter (Aruna Devi) is jailed and the son becomes a penniless wanderer. When released, the daughter becomes the mysterious Deccan Queen, nemesis of evildoers. The plot gets complicated when a clerk in an insurance company, Vrinda (Aruna Devi again) , turns out to be the wanted woman's double. Vrinda falls in love with Inspector Suresh (Surendra), but then later so does the Deccan Queen. The triangle takes unusual turns when the queen impersonates Vrinda and demands that Suresh marry her at once.
- "Call of the Souls" a tragedy about an outcast in Calcutta and a "Daughter of Joy".
- An adventure movie, set in a medieval Rajput court, mainly addresses Rajput notions of chivalry. The legendary warrior Mansingh (Phatak) is the nation's strong man but he is cordially hated even by his own people. Claiming to have been offended by Taramati (Tarkhad), he insists to her eminent father only a marriage (on terms insulting to her) can placate him. He becomes a tyrant imprisoning large numbers of people, and eventually Taramati's father, also in prison, leads a popular revolt, threatening to kill his son-in-law.
- Maya (Jamuna) is the poor cousin of rich socialite Shanta (Azoorie). Shanta is supposed to marry the equally rich Pratap (P. Sanyal), but he falls in love with Maya and fathers her child before going abroad. Shanta causes a seperation by intercepting Pratap's letters to Maya. When he returns, a successful lawyer, he us unable to trace her, while her efforts to meet him are foiled.
- Gohar-centered adventure movie. She is the ruthless Princess Hansa determined to acquire a treasure map from rival King Sujansingh (Bawa). She daringly steals the map but the king's misogynist son, Dilipsingh (Bilimoria), manages to get it back. Together they are caught by the outlaw Vijay (Ishwarlal) who also wants the treasure. The film was replete with sword fights, tribal magic and a horse battle at the end when Sujansingh attacks his former friend Vijay to find his imprisoned son.
- The poor but educated Mahim and his childhood friend, the rich but conservative Suresh, both fall in love with the same woman, the liberated Achala. Mahim marries her and they move to a village but she cannot forget Suresh. Her smouldering unhappiness takes the form of a resentment towards the orphaned Mrinal, raised by Mahim's father, and receives a dramatically visual embodiment when their house burns down. Mahim falls ill, is rescued by Suresh and nursed back to health by Achala. On a train (a metaphor for the irreversibly linear course of life) to a health-resort where Mahim is supposed to convalesce, Suresh on a rainswept night gives in to temptation and elopes with Achala. At the end of the film, there is a dubious reconciliation as Achala is shown following Mahim's 'good' traditionalism with Saratchandra's barely concealed hostility towards Achala's liberated Brhamo Samaj upbringing.