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A kind-hearted, widowed landlord, Thakur, lives a wealthy lifestyle with his son, Ramesh; daughter, Roopa; and an adopted child, Shankar. Ramesh hates Shankar and often abuses him. Years pass by, Thakur has passed away, and all three children have grown up. While Ramesh visits a stunningly attractive Courtesan, Tara, drinks alcohol, and continues to abuse and mercilessly beat Shankar, who bears this in silence as he and Roopa are in love with each other. When Ramesh finds out that Roopa wants to wed Shankar, he has him severely beaten and thrown off a cliff. He then arranges Roopa's marriage with another wealthy man, Satish, while he continues to romance Tara and even signs over his entire estate and home to her name.
Director
The orphaned Poornima is consigned to the care of her grandfather by her uncaring aunt. Grandfather lives in isolation up a mountain with only goats and the boy goatherd, Jaggu, for company. Poornima enjoys an idyllic life until her aunt returns. Auntie has found a buyer for her niece. She is to become the companion of the wheelchair bound, Rupa. Forced to leave her mountain retreat, Poornima becomes firm friends with Rupa despite the presence of the scowling nanny. She receives a good education too. Even so, Poornima pines for the mountains. Jaggu pines for Poornima and, when on the doctor's advice, Poornima is returned to the hills, it's Rupa's turn to pine for her. Brought up the mountain for a visit, Rupa enjoys the health-giving properties of fresh air and goats' milk. When her wheelchair is tossed over a cliff by Jaggu (who resents the presence of the interloper)a miracle occurs. The story is adapted from the children's classic "Heidi".
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A young prince named Ashok falls in love with a girl named Lali whom he encounters for the first time while hunting in a forest. Later on he learns that Lali belongs to a nomadic community that is at present, inhabiting his region. Ashok meets Lali again and both confess that they are in love with each other. In the meantime Lali's father, who is the head of his community, sends a man named Phulwa to look for her.
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A powerful and princely Sheikh lives in 18th Century Persia, makes a living renting out properties, and recovering taxes and dues on them. He lives in a palatial house with his wife, Zubeda, and son, Ahmad. When Ahmad grows up, Zubeda notices that he is spending too much time with women in their harem, and wants his father to get him involved in their business. Sheikh accordingly instructs Ahmad to collect all revenue, which he does so. A few days later, Sheikh is informed that Ahmad has been spending time with a friend named Farid, and is romantically involved with a dancing girl named Yasmin. A visibly upset Sheikh accordingly warns Ahmad to mend his ways, give up on Yasmin and return home, where he has planned his marriage with Nadira, the daughter of Amir Qasim.
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Raj Kumar Ashok belongs to a rich and aristocratic family. His parents want him to marry the best of the best girls money could find. Ashok's dad then spends a lot of money to invite proposals from all over India. But Ashok loves Kokila, who belongs to a poor family and sells flowers for a livelihood. Ashok decides to carry on his love with Kokila and at the same time witnesses the hilarious goings-on at his residence when the dads, mom, and the brides-to-be assemble - all from different parts of India - all speaking a different language. And with this multi-lingual medley, misunderstandings are bound to happen - and they do. His parents eventually select Roopa to be the bride. What will happen to the budding romance of Ashok and Kokila?
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1953 Indian Film
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Jadoo (Magic) is a 1951 Hindi psychosocial melodrama film directed by A. R. Kardar. The film revolves around a young singer and dancer, Sundari, who is involved with crooks, but falls in love with a police constable, Pritam. The plot of the film was inspired from The Loves of Carmen (1948)
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Indira (Suraiya) is an orphan brought up the strict and uprighteous Rani (Veena). Indira grows up to be a beauty and is sought by three suitors Raj (Raj Kapoor), Kundan (Al Nasir), and Ramesh (Suresh). Rani does not like Indira to marry into her family as both Raj and Kundan are her brothers, and she wants Indira to marry Ramesh, and as such arranges a meeting with Ramesh's mom (Pratima Devi) and finalizes the marriage. Indira does not appreciate this and refuses to marry Ramesh. Raj speaks of his love with Rani, and Rani warns him that Indira is to marry Ramesh, but also has an on-going affair with his brother Kundan. Who does Indira really love? Will she ever marry her dream man?
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Two lovers are separated by the girl's conniving uncle, who marries her off to another man. Heartbroken, the man wanders around aimlessly until a common friend decides to reunite the two lovers.
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Indian classic starring Shyam Kumar, Nusrat and Munawar Sultana
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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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The firste ever Lahore made film. Anwari Begum and Rafiq Ghaznavi - the grand parent of Salma Agha - played title roles in this memorable film. Rafiq Ghaznavi was a famous musician in the 30s and 40s and Anwari Begum appeared in many films, one of them was Anmol Ghari.
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Directed by Abdul Rashid Kardar.
Director
Directed by Abdul Rashid Kardar.
Daughters of Today was a 1928 silent film from Lahore, in present-day Pakistan (then British India). It was produced by G.K Mehta and directed by Shankradev Arya. This was the first feature film made in Lahore, and helped to establish the city of Lahore as one of the centers of filming in India. The Lahore film industry is now known as Lollywood. Production started in 1924 and took three years to complete, mainly due to financial problems. Two participants later became prominent personalities of the South Asian film industry: A.R. Kardar was one of the most famous Bombay film directors in the 1930s, 1940s and 1950s; and actor M. Ismael's film career spanned over five decades.
