Inquilab

Queen Kaikeyi exiles Rama and demands Bharat be king. Bharat, devoted to Rama, refuses the throne and goes to the forest, urging Rama to return. Rama insists on upholding his father's vow. Bharat then rules Ayodhya as Rama's regent, placing Rama's sandals on the throne until his return.

Ayodhyecha Raja, literally "The King of Ayodhya", was the first Marathi talkie. It is based on the mythological story of Raja Harishchandra of Ayodhya and his test by sage Vishwamitra, as recounted in Valmiki's epic, Ramayana. The film was also made as a double-version, Ayodhya Ka Raja (1932) in Hindi, making it the first double version talkie of Indian cinema.

Preeti, a wealthy woman, is in an intimate relationship with Prem, but her father disapproves and devises a plan that leads to their breakup. Years later, Preeti is reunited with Prem in a completely different situation.

A petty thief is put on trial for the attempted murder of a lawyer. Through a series of flashbacks, the intertwining lives of the thief, the lawyer, and the thief's defense lawyer are illustrated.

Raja is the 18-year-old son of a wealthy Bombay businessman who suffers from his parents coldness and neglect. Shortly after finishing school he meets Bobby, the 16-year-old daughter of a poor Christian fisherman. They fall head over heels for each other, but they'll need everything they have to defend their love as their families won't accept them marrying each other...

A social drama set in a Bombay chawl, where a kind landlady, her ambitious daughter, and their tenants face struggles between community bonds and the lure of wealth.

Devdas, the son of a zamindar, and Parvati, his neighbour's daughter, are childhood sweethearts. However, class and caste differences prevent their marriage. Devdas is sent off to Calcutta, while Paro is married off to an aged rich widower. In Calcutta, as remorse drives him to alcohol, Devdas meets Chandramukhi, a prostitute. All Indian prints of this Bengali version were destroyed in a fire that ravaged New Theatre’s studios. Today, only one copy of the film survives which belongs to the Bangladesh Film Archives. Of that copy almost forty percent is destroyed.

A joint family consisting of four brothers, their wives, and their respective children, living under one roof. Some of the brothers are professionls, one a lawyer, a doctor, and others businessmen. They are a happy family, living and sharing each other's joys and sorrows. Then one day, an arguement breaks out over a glass of milk, and the entire family is thrown into chaos, and the only resolution seems to be nothing but dividing the entire property amongst the brothers and their respective families.

The story revolves around the 15th century poet-saint Chandidas who acts out against the deep-rooted bigotry against caste, untouchability and the hypocrisy of society, as he falls in love with a washer woman.

Teen Bahuraniyan (English: Three Daughters-In-Law) is a 1968 family comedy movie. The film is a remake of 1967 Tamil movie Bama Vijayam (Bama's Visit). The film's three lead ladies reprise their roles from the original movie. Teen Bahuraniyan is family story of 3 daughter in laws and their husbands. The movie shows how their relations takes different colour at various situations and how the father Prithviraj Kapoor plays vital role in the family to keep things going.

Widower Ram Kapoor frequently throws lavish parties to overcome his loneliness. That changes when his son, Rajesh, returns home with a proposition. Ram's life soon spirals out of control.

In the 16th century, when Prince Salim falls in love with a beautiful courtesan named Anarkali, Emperor Akbar's disapproval leads to a battle between father and son.

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.

Sundarlal abandons his wife, Lalita, and children to pursue a living in the city, where he succumbs to a life of depravity. After their son dies, their daughter, Saju, defends her virtue and supports her mother in extreme poverty. Disguised as a man, she searches the city for her father with the help of a blind man, Baldev. Saju falls in love with a drunken millionaire she rescues, who mistakes her for a boy.

Devdas, the son of a zamindar, and Parvati, his neighbour's daughter, are childhood sweethearts. However, class and caste differences prevent their marriage. Devdas is sent off to Calcutta, while Paro is married off to an aged rich widower. In Calcutta, as remorse drives him to alcohol, Devdas meets Chandramukhi, a tawaif.

A remake of the Bengali film Bhagya Chakra, it was the first Hindi film to use playback singing. It was director Nitin Bose who came up with the idea of playback singing.

This was the first of the two films based on the same mythological story directed by B.K. Adarsh, featuring his wife Jaymala as the female lead, and having the same title. The second film, released in 1970, featured Pradeep Kumar as the male lead and was produced by Jaymala. This film had Prithviraj Kapoor in the lead role and was produced by Adarsh himself.

The story is of a family consisting of a mother and her five sons. A relative causes discord. The mother argues they need to stay united like the walls of a room to avoid collapse.

The story of Uma and Ramesh, who share a platonic love. Ramesh, an engineer, is dedicated to his villagers' welfare. Their relationship is tested when Ramesh's social ideals conflict with the realities of capitalism. To help Ramesh, Uma sacrifices her fortune and marries another man. However, Ramesh tragically misunderstands her immense sacrifice, leading to a deep emotional crisis in their relationship.

A philosophical drama follows a disillusioned man's journey to rediscover his lost humanity in a society that has forgotten what it means to be a true human.

A young doctor, Dr. Deepak, uses faith cures and is expelled from his profession. After successfully curing a Prince, he becomes a Chief Medical Officer but is framed for murder by a jealous State Physician. When his sweetheart falls ill, Dr. Deepak must cure her from prison, leading to a "satisfactory ending."

Set in two historical epochs, 1735 and 1735. The spirited Miss Queen (Khote), performing in a period play, recalls a previous incarnation when she was the actual person she is now acting on the stage. She inherited the throne because the state of Ranigarh had no constitutional male heirs and her horoscope was deemed auspicious. Instead of being merely a figurehead, she opposes the corrupt minister Jairaj and army commander Mubarak and, following the advice of the court poet (Pahelwan), she makes sure the royal court is accessible to the suffering people.

1940 Hindi film

Ostensibly a Central Asian war fantasy about a conflict between the Cossacks and the Tartars, Mehboob’s film proposes a tale advocating national independence. The Cossacks are oppressed by the despotic Russian king (Siddiqui) and his minister Jabir (Kayamali), who has Tartar blood in him. General Murad (Kumar) covertly sides with the opposition, gets arrested for treason and escapes. He meets the wild Gulnar (Sitara Devi) and gets her to spy as a maid of Princess Nigar (Bibbo). Nigar falls for Murad and Gulnar withdraws from the scene for the sake of her nation. Eventually Nigar, at the head of an army of women, helps defeat the villains.

Nandu lives in a small town with his widowed mom, Paro. He is friendly with two young girls, Farida and Kamli. He is depressed when Kamli's dad becomes ill and she and her mom re-locate to Ambala. Years later, Farida and Nandu have grown up and continue to be friends. Then they get the news that Kamli's dad has passed away, and they are to return back. Initially they do not recognize each other, but when they do, both fall in love and want to marry. When Paro goes to meet with Kamli's maternal uncle, she is shunned, humiliated because they are poor and Nandu is unemployed, & considered a trouble-maker.

"Living Legend - Raj Kapoor" is a revealing portrait of Raj Kapoor, a charismatic personality who held centre-stage in the Indian film industry for more than four decades! In a highly personalized interview, Raj Kapoor talks to the film's director, Simi Garewal, about his emotional evolution.. his regrets.. his love.. his music.. his films and his philosophies. The viewers are also treated to glimpses of haunting scenes and songs from his films.

This first co-production of the Soviet and Indian cinematographers is dedicated to the Tver merchant Afanasy Nikitin who in 1466-1472 blazed the trade way from Europe to India. The film is based on Nikitin’s travel notes. Starring in the film are popular Russian actor Oleg Strizhenov and India’s 1950s movie star Nargis.

The legend of Prince Puran, born under King Silwan of Sialkot's curse which binds his parents never to set eyes on him until he is 16. Accused of leading a debauched life by an evil general and by the king's second wife, Puran is sentenced to death. Rescued by the mystic Gorakhnath, he becomes an ascetic. When the king is overthrown, Purna rises from his meditations to depose the general who has seized power, before returning to his life of renunciation.

A period fantasy that told of the ageing king of Kamarpur, and his two rival queens, Navbahar and Dilbahar, and their rivalry when a fakir predicts that Navbahar will bear the king's heir. Dilbahar unsuccessfully tries to seduce the army chief Adil (Vithal) and vengefully destroys his family, leaving his daughter Alam Ara (Zubeida) to be raised by nomads. Eventually, Alam Ara's nomad friends invade the palace, expose Dilbahar's schemes, release Adil from the dungeon and she marries the prince of the realm.

"Akhirat", very poignantly, shows the relentless strife of a woman, Mira (Vanidah Imran), who struggles her entire life after knowing she is surrounded by the biggest enemy on earth which is going to attack her body. After getting into the frightening and mysterious conflict, she was burdened with the almost impossible - to face the community and most importantly, to bear the responsibility for her whole family.