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6.7
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Badi Maa (1945)
Notable 1945 Indian production
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7.7
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10
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Meri Surat Teri Ankhen (1963)
Raj Kumar is a wealthy businessman and dislikes everything ugly. When his wife, Kamla, becomes pregnant and gives birth to an ugly son, he asks the attending Dr. Mathur to inform his wife that their child was still-born. Dr. Mathur places the child in the hands of Rahmat and his wife, Naseeban, who welcome him with open arms. But misfortune follows them, as the child, who is named Pyare, accidentally burns their dwelling down, killing Naseeban. Rahmat then re-locates to his village when he teaches Pyare the skills required to play musical instruments and sing. Years later, Rahmat passes away, and informs Pyare that he is really a Hindu. Dr. Mathur fills the rest of the blanks for Pyare, and arranges a song and dance play and hopes that Raj will overcome his dislike for his now-grown son.
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Veer Babruwahan (1934)
In this mythological tale, Babruwahan, son of Arjuna, returns from the Mahabharata war. He defiantly stops a horse from his father's army, leading to a battle in which he beheads Arjuna. As he prepares to commit suicide, Krishna appears, instructing him to retrieve the magical Sanjivani Mani from the land of the serpents to revive his father. This quest pits him against Ullupi, the serpent king's daughter and a former wife of Arjuna. When she surrenders the Mani but takes Arjuna's head instead, Krishna is forced to intervene to resolve the situation.
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Premi Jogan (1931)
Amar (Bilimoria) and Ila's (Shantakumari) love is disrupteted by the dashing Samar (Ishwarlal). The rivals get embroiled in the Kashmir war and Samar dies in Amar's arms. Amar returns to find that Ila has become an ascetic but they eventually get married.
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The Kick (1939)
A cautionary tale about wealth not bringing happiness. The blind Mohan (Kumar) lives in a village with his ward Radha (Madhuri). He wins a fortune with a sweepstake ticket sold to him by the tramp Ramesh (Charlie), who claims his due and begins to take over Mohan’s life, making him move to the city and getting him married to Chinta, a prostitute. When Mohan’s eyesight is restored, he finds that his wife is having an affair with Ramesh. Mohan takes revenge and eventually lands up in his old village, a poor man, but with Radha still unchanged, waiting for him.
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Sitamgarh (1934)
The tyrannical Jabbar attacks a village and kidnaps the son of the devout Sayyed, named Iqbal. Raised by his captor, Iqbal becomes a tyrannical commander in Jabbar's army, forcing people to accept Jabbar as their god. During a campaign, he meets a group of "true" religious believers led by Sadiq, his daughter Sadika, and Princess Hamida. Hamida falls in love with Iqbal, much to the dismay of her suitor, Shaddad. As the plot unfolds, Iqbal learns of his true ancestry and is faced with a profound choice.
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Adhuri Kahani (1939)
The educated Harbala battles the oppressive traditionalism of her husband, Seth Gopaldas. Desperate for her children, Somnath and Neelam, to live freely, her frustration leads to a tragic act. Haunted by guilt, her children ultimately follow. The film, aptly titled "The Unfinished Tale," suggests hope for a more liberated future.
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Sipahi Ki Sajni (1936)
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.
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Keemti Aansoo (1935)
A tearful melodrama about a progressive writer, Pushpa (Gohar), and her weak husband, Kulin (Billimoria). She has to fight her domineering mother-in-law and the tyrannies of a conservative household. When falsely accused of theft and infidelity by her wayward sister-in-law Gulab, Pushpa is forced out of the house. In her final state of penury, she recalls the examples of the great female Saint-Poets of Indian history, like Meerabai. Secondary characters are used to caricature Bombay's merchant class e.g. Mahatma Ramanand Adambar, a fortune-teller who suspects his wife of infidelity, and a gold collector called Prof. Pyarelal.
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Desh Dasi (1935)
A jaded socialite, Vinakumari, and her lover, Dr. Rasik, discover purpose at a Gandhian ashram. Vinakumari dedicates herself to the poor as the ashram battles challenges from urban temptation to famine and greedy landlords. Dr. Rasik eventually joins the cause, bringing much-needed medical aid to the struggling community.
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Barrister's Wife (1935)
Lily and Vasant's suicide pact is thwarted, leading to Lily's forced marriage. She cares for an invalid Vasant, causing her husband to disown her and ban her from their daughter, Indu. Years later, their paths collide. Lily, now a servant, meets Vasant again, who is painting her lawyer daughter, Indu. Their renewed death pact leads to Vasant's death and Lily's arrest. In a dramatic trial, Indu defends Lily, facing her boyfriend (the prosecutor) and her father (the judge).
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Dil Ki Baat (1944)
A romantic drama or a social film exploring themes of love, emotional expression, hidden feelings, or personal desires and the conflicts or joys that arise from them
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Salma (1943)
An Indian drama about a woman's courageous quest for personal goals.
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The Guest (1942)
An early Indian social drama revolving around a visitor or unexpected arrival whose presence impacts the lives of others, likely leading to drama, complications, or revelations within the household.
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Fariyaad (1942)
An early Indian drama centered on a grievance or plea for justice
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India Today (1940)
The story of two brothers, Dhiraj and Shashi, and their rivalry. The cunning Dhiraj mortgages their ancestral property, causing complications for his innocent brother Shashi and their family. The plot also explores the contrast between rural (Unmad village) and city life, as both brothers originate from Calcutta.
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Shadi (1941)
A devoted traditional wife heals her ailing husband, only for him to abandon her for a dancing girl. Can a modern, educated woman's revolutionary ideas mend the broken marriage and restore love?
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Chandni (1942)
Two identical women, city-bred Chandni and village teacher Devi, swap clothes on a train, leading to their husbands mistakenly taking home the wrong wife. As chaotic domestic lives unfold, their interwoven fates unravel through illness, mistaken affections, and a final public revelation of their switched identities.
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Dhiraj (1942)
Dhiraj (1942) was a Hindi social film directed by Chaturbhuj Doshi and produced by Ranjit Movietone. It featured actors like Sitara Devi and Ishwarlal. Dhiraj was banned by the British government due to alleged inclusion of "symbols like pictures of national leaders," suggesting a plot with nationalist themes.
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Holi (1940)
The evil Chand (Motilal) and his rich father Mangaldas (Date) persecute the nice Sunder (Ishwarlal): he kidnaps Sunder's sister Kokila (Khursheed) and frames him for theft. Sunder is jailed. The abducted Kokila succumbs to the villain's charms and her love reforms him. When released, Sunder, unaware of the fact that his enemy has reformed, seeks revenge on the very day that Chand and Kokila are to marry.
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Bhutio Mahal (1932)
This horror spoof was the first film in which the future comedy duo Dixit and Ghory appeared together. They were often referred to as the Indian Laurel and Hardy.
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Meri Aankhen (1939)
Film starring Khursheed and Sitara Devi


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