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Prabhu Ka Ghar (1946)
Character: Nanda
A story centered on a village girl named Alka, whose character exhibits contradictory traits and possibly a violent nature. Her life intersects with other village inhabitants, including Nanda, and a figure described as a "ruthless dacoit" who undergoes a transformation into a "dacoit-devotee" and is involved in an unusual burial ritual. The narrative attempts to weave in themes related to divinity and spiritual protest through these characters and events.
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औलाद (1968)
Character: Mamta (Dinu's Wife)
Mamta lives a poor lifestyle with her husband, Dinu, and two sons, Mohan, and Sohan. When Ram Lal, the wealthy Zamindar, Kanta Prasad Gupta's Munim, comes to them to take Sohan to Mrs. Sharda Gupta for ten days, they reluctantly permit him to do so. After 10 days, Gupta himself approaches them and begs them to let his wife keep Sohan for life. They tearfully agree. Then Mohan gets into trouble, and Dinu scolds him, only to find out that Mohan has run away from home. A search proves futile, and the couple continue to live a childless life. Now 17 years later, Mamta is seriously ill, and asks Dinu to bring Sohan back. Dinu goes to the Zamindar's house where he meets a young man who identifies himself as the real son, Suraj, and informs him that Sohan has been asked to leave. A devastated Dinu loses his memory and roams listlessly on the streets of Calcutta, unable to remember anything.
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Doli (1947)
Character: Rani
Roshan, a young man who can't see, falls for a blind beggar girl named Rani. He tries to get the money for an operation that could restore her sight, but his plan goes horribly wrong, landing him in jail. In his absence, a doctor enters Rani's life and gives her the gift of vision. After years apart, their paths cross again, but will they find their way back to each other, or has fate set them on separate courses forever?
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बाबर (1960)
Character: N/A
Film starring Gajanan Jagirdar, Azra and Sulochana Choudhury.
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International Crook (1974)
Character: N/A
Superintendent of police, Rajesh, is asked to look after a police station in Goa, where he meets his old friend, Shekar, but soon Rajesh finds himself in a dilemma where he must re-evaluate his commitment to their friendship.
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Bidesiya (1963)
Character: N/A
Bidesiya is a Bhojpuri film based on the play of same name written by Bhikhari Thakur.
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मुन्ना (1954)
Character: N/A
On a dark, stormy night, a young woman appeared near the orphanage. Holding her child close to her chest one last time, she left him at the door and disappeared as quietly as she had come. Only the moon and stars were silent witnesses to her deed, the cry of a desperate soul. "Munna" means "baby" in Hindi. That is what the owner of the orphanage named the foundling. Years passed. One day, a wealthy childless couple came to the orphanage, wishing to adopt one of the boys. Their choice fell on Munna. However, upon learning that the child's mother was alive, they changed their minds and left, leaving a gold amulet around the boy's neck. That night, Munna could not sleep: pain and longing weighed heavily on his little heart. The boy ran away from the orphanage and set off for Bombay in search of his mother. He was determined to find her.
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Priya (1970)
Character: N/A
A young woman recounts her transformation, involving her parents, brother, sister-in-law, classmate, professor, and cycle waala who was in love with her.
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Shahjehan (1946)
Character: Janfiza
Shahjehan (a raw Rehman in one of his first releases) is approached by a Rajput chieftain, Jwala Singh, narrating the plight of his foster daughter, Ruhi (Ragini), who is blessed with unheard of beauty. This gives rise to an army of suitors, who indulge in violence to prevent her from getting married by scaring her to-be grooms. Her beauty, confined to four walls of Jwala's haveli becomes part of folklore, and street gossip, through the poetry of Sohail (Saigal) who accidentally catches her glimpse, and falls in love with her.
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Shahenshah Babar (1944)
Character: N/A
Following his conquest of India, Emperor Babar faces a crisis of loyalty among his troops and nobles. His most devoted subject, Sardar Sheikh, faces a dilemma when his daughter, Hamida, falls in love with Prince Humayun. Sheikh sends Hamida away, prompting Babar to intervene. However, a great sacrifice is ultimately demanded of the Emperor to save his son and reconcile the conflict.
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महलों के ख़्वाब (1960)
Character: Chandar's mother
After winning a lottery, Asha and Bela round up a holiday to find suitable husbands. But they end up being framed for stealing a precious necklace.
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Hum Tum Aur Woh (1971)
Character: N/A
Vijay is in love with Arti, but while he tries to woo her he becomes embroiled in a murderous plot that involves Arti, her father and the beloved businessman Mahendra Nath
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लाडली (1949)
Character: N/A
A social drama that focuses on the struggles of a cherished daughter as she navigates societal expectations and family conflicts that threaten her personal happiness and romantic choices.
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मेरा प्यार (1970)
Character: Sangeeta's Mother
Raj Kumar falls in love with the beautiful, Indian singer Sangeeta Thakur when she comes to tour Kenya, but his father wants him to marry his wealthy childhood friend, Rani, instead
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Raat Aur Din (1967)
Character: Jamuna
Mystery about a wife who appears to be leading a double life
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Bharosa (1963)
Character: Laxmi
Ramdas is a trusting individual, and trusts everybody around him. When times turn bad for him, he entrusts the life of his son, Bansi, to his trusted employee, Ronaklal, and departs. He regularly sends money to Ronaklal to provide for the upkeep of his son, but Ronaklal uses this money to educate his son, Deepak, keeps Bansi uneducated, and makes him do a lot of manual work. Years pass by, Ronaklal is now crippled, and is dependent on Bansi, as Deepak has left him, got married to a wealthy girl, and lives with his in-laws. Ronaklal is unable to show his face to Ramdas, and avoids him, and Bansi has grown up without knowing who his real father is. Will Ronaklal be able to tell Ramdas the truth when he returns, or will be just let Deepak be the sole heir to all the estate and the property?
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पोंगा पंडित (1975)
Character: Rukmini Neelkanth Pandey
Haridwar-based Neelkanth Pandey and Shambhu Nath get their children, Bhagwantiprasad and Parvati respectively, married. Whille Shambhu re-locates to live in Bombay, Neelkanth continues to reside in the same residence. Years later both children have grown up, so Neelkanth invites the Naths to finalize the nuptials. Very soon the Pandeys will face humiliation and ridicule at the hands of Parvati, who now calls herself Pamela, and Shambhu, who wants his daughter to marry someone sophisticated and wealthy, while Parvati is in love with a singer named Rocky. Bhagwanti is determined to fulfill his parents' wishes and decides to stay wed to Parvati, re-locates to Bombay, to try and woo her back - with results that will end up changing his life forever.
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Ek Dil Sau Afsane (1963)
Character: Neelu's Mother
Shekhar's maternal grandmother loves him dearly, but she is also very religious and firm in her beliefs. Convinced that every man must have a male heir to carry on the family's name, she will only permit Shekhar to marry a woman who will bear him a son. Shekhar wants to marry Sunita, but an astrologer tells the grandmother that Sunita cannot bear any children, and so she disapproves of her. However, Shekhar and Sunita marry anyway.
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परीवार (1968)
Character: Bhagwanti
After his step-mother, Bhagwanti, asks him to leave, Andheri-based medical student, Gopal, gets married to his sweetheart, Meena, and both move in nearby. He completes his studies, becomes a doctor and both soon become parents of three children, two boys and a girl. Their harmonious lifestyle is shattered when their daughter passes away; and Gopal is arrested for killing a male named Diwanchand Rai.
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Pyar Hi Pyar (1969)
Character: N/A
At an orphanage, Kailashnath identifies Vijay as his biological son and takes him home. Years later, a man named Ashok arrives and claims to be Kailashnath's real son.
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जागते रहो (1956)
Character: Meenu
Entering an apartment block in search of a drink of water, a naive peasant finds himself mistaken for a thief and is chased by the residents. Whilst evading capture, he inadvertently exposes the venality and dishonesty of the building's middle class occupants.
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डोली (1969)
Character: Mrs. Ramprasad
Amar and Prem, college friends, and Asha and Shobana form friendships. Marriages are arranged, but dowry demands a US ticket. Prem returns, becomes office predator, and Asha endures harassment to pay off debts.
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जिस देश में गंगा बहती है (1960)
Character: Police Superintendent's wife
Raju informs the police about a group of bandits, even though he is in love with the chief's daughter. The police set out to kill the clan and it is upto him to save the bandits and his love.
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Triyatri (1990)
Character: Grandmother
Bright students Ravi, Adi and Surya are angry when they find out that their high school marks are just below the cutoff mark to get an entrance to the college of their choice. Out of frustration, Ravi twangs his guitar during his grandfather's classical music lesson. The old man, instead of getting angry at this behavior, challenges the boys first to a musical contest and then to a cycle tour to Kanyakumari. These challenges test the young kid's minds, characters and endurance.
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पिया का घर (1972)
Character: Mrs. Girdharilal Sharma
A woman from a rural family enters into an arranged marriage with a man from the city. While she is instantly taken with her husband, she is shocked to discover that the holy man who arranged the wedding had neglected to mention the crammed living conditions of her new family and soon the lack of privacy disrupts the marriage bliss of the newly-wed couple.
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