Highest Grossing Film of 1934

This classic opens with a sensational low-angle circular track movement as Chandika cult followers meet in a dungeon of flickering lights and deep shadow. As the more rationalist King Krantivarma (Varde) banned human or animal sacrifices from the increasingly fanatical festivals dedicated to the goddess, the cult's high priest (Chandramohan/Date) orders the hapless Vishwagupta (Kelkar) to kill the king. He obeys but is then betrayed by the perfidious priest and caught. His son Madhavgupta (Mane) and daughter Sumitra (Apte) together with the princess (Tarkhad) and the people finally overthrow the priest. There are several famous scenes, including the twice-told legend of the churning of the seas, once by the priest to show how evil must be exorcised, and again by a good general to show how demons often appear disguised as gods. Although invoking divine intervention when Madhavgupta is about to be sacrificed, the film's strongly political thrust has the people rise in revolt.

K.L. Saigal stars as Chandidas and Umasashi as Rami, featuring several of their popular duets (e.g. Prem nagar mein banaongi ghar main) and other songs with Sanyal. This film is about Chandidas, a legendary 15th-C. Bengali Vaishnavite poet whose biography remains obscure but was an influence on the better documented Chaitanya (1486-1533), a school teacher who promoted the Vaishnavite ideology in Bengal, mostly through hymns about the Radha-Krishna legend. The film stressed the poet's teachings through the love story between Chandidas and a low-caste washerwoman, Rami. The conventional villain of the saint film genre, who represents the established order threatened by the outsider's revolutionary influence on common people, is the rapacious upper-caste merchant Bijoynarayan. When Rami rejects his advances, he persuades the high priest to insist that Chandidas must repent or be punished for associating with a low-caste woman. Chandidas agrees to repent but when he sees the injuries Rami has suffered at the hands of the merchant's goons, he rejects institutionalized religion in favor of the higher Vaishnavite call for a more democratic god and leaves the village with Rami.

A more traditional, though complicated version of the original plot in Gunsundari (1927). A joint family headed by Seth Shyamaldas (Bawa) includes two sons Chandrakant (Bilimoria) and Vinu (Apte) and daughter Kusum (Shanta). The stories of the father and each of the three children unfold and in each Gunsundari (Gohar), Chandrakant's dutiful wife, appears as the saviour. Shyamaldas is a drunkard, accused of fathering an illegitimate child. Chandrakant becomes a drunk falling into the clutches of both the villain Madanrai (Gangaprasad) and the prostitute Bansari (Rampiary) who try to steal his property. Sister-in-law Sushila (Kamala) is unhappily married to Vasantrai (Ghory) who pawns her necklace. Gunsundari gives her some money and later gets into trouble because she is sworn to secrecy and cannot account for the money. Gunsundari tries to entice her husband back from Bansari, but eventually finds herself on the streets, destitute. She finally meets Chandrakant, who is also on the streets.

This costumed love fantasy derived from the Arabian Nights tells of Laila (Zubeida), a gypsy dancer who falls in love with the Persian soldier Asghar (Desa). The villain who lusts after Laila, is Sardar Sagi (Gulab), right-hand man to the grand vizir (Joshi) who has political ambitions of his own.

A production presenting an East-West conflict in the form of a love triangle. Indira (Sulochana), with an MA from Oxford rejects the 'idiot' Kishore (Sandow) chosen for her by her alcoholic father, the leading lawyer Bansilal (Jamshedji), and falls for the playboy Pyarelal (Bilimoria). However, Pyarelal is a philanderer and the marriage ends in divorce while Kishore remains devoted to his beloved , proving that parents instinctively choose the right man for their daughters. The climactic scene has the father defending the innocent Kishore in court and publicly accusing himself for his daughter's misfortune, blaming alcohol and his decision to have her educated aboard.

Classic adventure fantasy setting in an unnamed Rajput-style court. The king's younger wife Taramati (Jilloo) is condemned to death for infidelity and her son Chandrakumar (Ghaznavi) is brought up by a distant uncle. The elder wife has twins, the lovely Princess Chanda (Sulochana) and the nasty Jaisingh, who turns out not to be their son after all. Rohil (Bilimoria) is the romantic outlaw who is revealed to be the long lost son of the good chief Sajjan Singh (Jamshedji). Rohil helps restore order in the kingdom to Princess Chanda's delight. There are elaborate filmed scenes of a tiger hunt, the cheetah who takes away Rohil when still an infant and lavish palace scenes.

Adventure drama based on Persian legend. Mubarak (Kader) kidnaps Sanobar (Mohammed), the son of the king of Yemen (Peerjan) and raises him in the forest. Prompted by Mubarak, Sanobar attacks the king returning from a hunt, but is caught, condemned to be locked up in a box and thrown into the sea. A fakir teaches the king the language of the animals, warning him not to pass on the skill to any other humans. Listening to two birds, the king realizes that Sanobar is his own son. The queen (Jilloo), learning that the king has special linguistic powers, forces him to teach them to her as well. He does so and becomes paralyzed. Only a flower from the mouth of Meherangez, the princess of Sistan (Sulochana) can save him. Umar (Bilimoria), the good prince, attempts the task.

Unusually violent film for its time advocating widow's right to remarry. The crooked Daulatram (Jamsehdji) sells his daughter Chandramukhi (Dulari) in marriage to Banwarlal. Distraught, her mother commits suicide. Banwarlal is poisoned by his nephew who fears the new wife might produce an heir, and Chandramukhi is forced into prostitution. Her father, now a beggar, chances to see his daughter in this condition and he too commits suicide. The nephew then kills Chandramukhi's brother Dayaram (Kader) in an argument and Chandramukhi is arrested for murder. The sorry tale ends happily when the good lawyer Raghuvir (Ghaznavi), Charamukhi's original suitor, rescues her in court. The film ends with debates for and against widow remarriage and with Raghuvir marrying Chandramukhi.