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Bhikharan (1935)
Character: Kumar
Madhavi's world is upended when her husband, Kedar, leaves her for the wealthy Chandra. Forced onto the streets, Madhavi finds solace in singing and soon crosses paths with artist Kumar, becoming his muse. Their connection deepens, but fate intervenes, leading Madhavi on a path that transforms her into a renowned singing star.
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Nigah-e-Nafrat (1935)
Character: Sanjeev
A melodrama about the rich and callous Vilas (Pendharkar), who abandons girlfriend Shama (Wadkar) whe he discovers that she is pregnant. She raises her son Nandu (Mainkar) with the help of her younger brother and the film's hero, Sanjeev (Vinayak). When Vilas re-enters their lives, it is with a new name, Ishwar, and with the intention of seducing the rich Princess Indira (Samarth) who loves Sanjeev. Ishwar has a bad accident and an attack of amnesia that also leads to a confession of his past deeds.
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अग्निकंकण (1932)
Character: Rajkumar Sudhirchandra
Prince Sudhirchandra goes into hiding as an infant when his father gets overthrown by Naagraya, a greedy minister. After 20 years, Sudhirchandra returns to reclaim his throne.
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Chhaya (1936)
Character: Prakash
A celebrated melodrama. A bank employee who steals money to buy medicine for his dying wife is caught, jailed and dies of shame.
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ब्रह्मचारी (1938)
Character: Audumbar
This film addresses the Rashtriya Swayamsevak Sangh (RSS), a Hindu organization emphasizing celibacy and discipline, which became the power base of the right-wing Bharatiya Janata Party (BJP).
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ब्रान्द्य कि बोतल (1939)
Character: Bagaram
A clerk in a municipal office discovers brandy to save his boss's ill son, leading to adventures.
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विलासी ईश्वर (1935)
Character: Sanjeev
It is a melodrama about tlie rich and callous Vilas who abandons girlfriend Shama when he discovers that she is pregnant. She raises her son Nandu with the help of her younger brother and the film's hero, Sanjeev. When Vilas re-enters thier lives, it is with a new name, Ishwar, and with the intention of seducing the rich Princess Indira who loves Sanjeev. Ishwar has a bad accident and an attack of amnesia that also leads to a confession of his past deeds.
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धर्मवीर (1937)
Character: N/A
The hypocritically pious philanthropist Dinanath (Pendharkar) drinks alcohol claiming it to be holy water, womanizes and swindles people in private.
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सैरंध्री (1933)
Character: King Virat
Set during the Pandavas’ exile in the Mahabharata, the story focuses on Draupadi living incognito as a maid-in-waiting named Sairandhari in King Virata’s palace. The arrogant Keechak becomes obsessed with her, prompting Bhima (disguised as a cook) to intervene and kill Keechak to protect her honor.
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आकाशवाणी (1934)
Character: Vasudev
An anti-imperialist version of the Vishnu Purana legend tells of the villainous Kans plotting to marry Devaki to Dikpal, commander of Magadh's army. The people of Mathura fear that Magadh will destroy their city-state and foil Kans' scheme as Devaki marries the beggar Vasudev. The heavens forecast, accurately, that Devaki's eighth son Krishna shall cause Kans' death.
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सिंहगड (1933)
Character: N/A
Udaybhanu captures Kamlakumari who is planning to commit Sati and brings her to his fort in Kondana. Tanaji Malusare prepares to attack the fort with fifty soldiers. He manages to scale it but is killed in the battle with Udaybhanu. Chatrapati Shivaji Maharaj arrives and wins the fort but he is despondent on losing his most trusted Lieutenant.
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Ayodhyecha Raja (1932)
Character: Rohidas
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.
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Nammoora Mandara Hoove (1997)
Character: N/A
Shivrajkumar comes to his close friend, Ramesh's home town and falls in love with the girl whom Ramesh loves (Prema).
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