Rajaram Vankudre Shantaram

Vasudeo Deshmukh gets married on his mother's insistence without seeing the girl. Gaura, a famous dancer is on the same train as Vasudeo's. As fate has it, Gaura becomes Vasudeo's wife.

A respected village schoolteacher falls for a travelling dancer and faces a moral dilemma.

A respected village schoolteacher falls for a travelling dancer and faces a moral dilemma.

Ladki Sahyadri Ki is a 1966 bilingual social drama starring Shalini Abhyankar, Sandhya, Vatsala Deshmukh and others. Rani is asked to join a theatre troupe but her family does not allow girls to work. The village temple needs to be repaired and to help pay for it, she takes it on. She gets into trouble when the stage-owner makes advances towards her and she snubs him. This man is responsible for the temple repair work and he stops it out of spite. Can she make sure the temple is restored?

An impoverished sculptor marries his inspiration but is then betrayed by her.

Angara and Vikram fall in love despite their family being from different clans and having a feud.

Angara and Vikram fall in love despite their family being from different clans and having a feud.

Diwakar is a poet and loves his wife Jamuna on everything. But Jamuna does not agree that Diwakar lives out of sheer poetry in a fantasy world and the real world less and less responsible. Diwakar goes so far that he is a fantasy woman in his wife's body creates what he calls Mohini. Diwakar will soon become a recognized poet and Jamuna gives birth to a boy. Unfortunately, the happiness does not last long: Diwakar loses his job because of a critical songs against the British. Now he can no longer feed his sickly father nor his son, who is starving. All this makes Jamuna angry, but above all Diwakars growing obsession with Mohini. As Jamuna decides to live apart from Diwakar, it is destroyed internally and no longer capable of proof. Jamuna slowly realizes that she can not live without Diwakar and forgives him.

Diwakar is a poet and loves his wife Jamuna on everything. But Jamuna does not agree that Diwakar lives out of sheer poetry in a fantasy world and the real world less and less responsible. Diwakar goes so far that he is a fantasy woman in his wife's body creates what he calls Mohini. Diwakar will soon become a recognized poet and Jamuna gives birth to a boy. Unfortunately, the happiness does not last long: Diwakar loses his job because of a critical songs against the British. Now he can no longer feed his sickly father nor his son, who is starving. All this makes Jamuna angry, but above all Diwakars growing obsession with Mohini. As Jamuna decides to live apart from Diwakar, it is destroyed internally and no longer capable of proof. Jamuna slowly realizes that she can not live without Diwakar and forgives him.

Progressive, reform-minded young warden gets permission to take six surly murderers from prison to dilapidated country farm, to rehabilitate it and themselves through hard work and kindly guidance.

Progressive, reform-minded young warden gets permission to take six surly murderers from prison to dilapidated country farm, to rehabilitate it and themselves through hard work and kindly guidance.

Dancer maestro Mangal Maharaj wants his son, Girdhar, who is a dancer par excellence, to enter the once-in-ten-years Nateshwar Utsav dance competition, win it, and be crowned the Bharat Natraj. While Girdhar can do a solo dance number, he is also required to dance the Shiv-Parvati Tandav dance with a female partner. Mangal Maharaj would like Roopkala to be his partner, but ends up being disappointed with her. Now with only a year left for the Utsav, he chances upon talented dancer and singer, Neeladevi, and recruits her. He subjects her to strenuous training and he is pleased with her performance. Then he finds out that Girdhar and Neela have fallen in love with each other, and their involvement is interfering with their performance. Unhappy with Neeladevi, he dismisses her, and sets forth to look for another dancer. The question remains: Will he be able to find another one, train her, and make her compete just in time for the Utsav, or will he lose this opportunity altogether and ...

An exploitation film primarily culled from footage of a Hindi film titled "The Journey of Dr. Kotnis." Producer Lloyd Friedgen added real and staged footage of wartime atrocities.

An exploitation film primarily culled from footage of a Hindi film titled "The Journey of Dr. Kotnis." Producer Lloyd Friedgen added real and staged footage of wartime atrocities.

In a world filled with suffering, humanity seems to have forgotten what it means to be humane. But even in the darkest of days there's always a glimmer of light. One forlorn woman searches for hope in this classic drama from V. Shantaram featuring music by C. Ramachandra, including "Apni Naakami Se Mujko Kaam Hai," "Bhabhi Aayi Bhabhi Aayi" and "Do Haklon Ka Suno Fasana." Pradeep Kumar, Jayashree and Amrutlal star.

Ramesh, the youngest son of a well-to-do family, falls in love with a woman he hears singing on the radio -- even though he's never seen her. When he finds out his mystery woman is Ksama, a servant in his parents' house, everything is thrown into turmoil. Will Ramesh accept Ksama? Will they get married? Love may just conquer all in this classic Bollywood melodrama.

Ramesh, the youngest son of a well-to-do family, falls in love with a woman he hears singing on the radio -- even though he's never seen her. When he finds out his mystery woman is Ksama, a servant in his parents' house, everything is thrown into turmoil. Will Ramesh accept Ksama? Will they get married? Love may just conquer all in this classic Bollywood melodrama.

Ramesh, the youngest son of a well-to-do family, falls in love with a woman he hears singing on the radio -- even though he's never seen her. When he finds out his mystery woman is Ksama, a servant in his parents' house, everything is thrown into turmoil. Will Ramesh accept Ksama? Will they get married? Love may just conquer all in this classic Bollywood melodrama.

Veteran director V. Shantaram spins this bio-pic about poet and musician Honaji Bala -- best know for popularizing the lavani dance form and for writing the classic raga Ghanashyam sundara shirdhara -- who reached the zenith of his creative powers just as the Maratha empire was collapsing to British invasion forces. The film shows not only Bala's passionate interest in lavani, but also his passionate interest in prostitutes -- particularly a beautiful dancer named Tamasha (Sandhya). As the Pune court bestows Bala an award for his talents, the film shows the Maratha army getting routed by the British onslaught.

During the Japanese invasion of China, a young Indian doctor joins the Chinese resistance, meets and courts a Chinese girl, cures a virulent plague, and is captured by a Japanese platoon...

During the Japanese invasion of China, a young Indian doctor joins the Chinese resistance, meets and courts a Chinese girl, cures a virulent plague, and is captured by a Japanese platoon...

Following a passionate encounter with King Dushyanta (Chandramohan), the comely Shakuntala (Jayashree) finds herself pregnant and rejected by the royal court. She gives birth in a forest to a son which she names Bharat (Kumar Ganesh). When the King tracks his former lover down and tries to take her back, she flatly refuses him.

Following a passionate encounter with King Dushyanta (Chandramohan), the comely Shakuntala (Jayashree) finds herself pregnant and rejected by the royal court. She gives birth in a forest to a son which she names Bharat (Kumar Ganesh). When the King tracks his former lover down and tries to take her back, she flatly refuses him.

The story is set in a small village in India where the villagers of different communities live in harmony. Pandit (Mazhar Khan) a Hindu, and Mirza (Gajanan Jagirdar) a Muslim, are two old friends who function as the village elders and look out for each other's families. An industrialist, Onkar, arrives to construct a dam in the village. He is opposed by the two friends and the other villagers. Onkar decides to create distrust and disunity between the two communities and friends. When a house is set on fire, Mirza is made to believe it is the work of Pandit and his son. Encouraged by the villagers, he is forced to ex-communicate the two. This causes strife and the dam is constructed. Finally the dam breaks and the two old friends come together again and die in their attempt to save lives.

A love tragedy featuring a policeman, Ganpat (Modak) and a prostitute, Mainal (Hublikar). Ganpat saves Maina from a police raid on a brothel and they fall in love. Her reputation and sense of guilt resist his attempts to rehabilitate her. Ganpat's respectable middle-class mother (Sundarabai) symbolizes all that Maina would like to be, but she is arrested for murdering her evil uncle and refuses Ganpat's offer to release her from prison.

A love tragedy featuring a policeman, Moti (Modak) and a prostitute, Kesar (Hublikar).

Neera (Apte) is trapped into marrying an old widower Kakasaheb (Date). He is a progressive lawyer with a son and daughter of Neera's age. Neera refuses to consummate the union claiming that while suffering can be borne, injustice cannot. Neera faces many hurdles including her mother-in-law and a lascivious stepson Pandit (Nene).

A young girl who is forced to marry an aging lawyer. She is implored to find a young husband before her would be husband snuffs the idea out.

Adventure classic featuring Durga Khote's most memorable role as the pirate Queen Saudamini. Faced with extreme patriarchal laws in an ancient seaport kingdom and denied the legal custody of her infant son Sudhir, Saudamini becomes a pirate declaring war on the state, and especially on its tyrannical minister of justice, Durjaya (Chandramohan). She attacks a royal ship and captures Durjaya, inadvertently also taking Princess Nandini (Apte). In captivity, Durjaya declares his love for Nandini but she falls fir a shepherd boy (Nandrekar) who turns out to be Saudamini's long-lost son Sudhir. Durjaya's men then capture Saudamini and a palace intrigue ensues marked by her emancipatory rhetoric and the universal humanist arguments of her adviser Shekhar (Kale).

This saint film is about Sant Eknath (1533-99), a major Marathi poet, author of the Eknathi Bhagvata and numerous abhangas evoking folk poetry, especially the bharuda form of solo performances. The film focuses on Eknath's humanitarian defence of the 'untouchable' castes. Opposed by the evil Mahant (Kelkar/Chandramohan), Eknath becomes a social outcast when he arranges to have the lower-caste people fed before the Brahmins during a prayer meeting at his house, compounding the offence by going to eat in one of their houses. The drama is heightened by Eknath's son Hari Pandit (Kale) who joins the ranks of the opposition. The happy ending occurs when the film transcends the food motif and Eknath defends himself by reading his poems to the Pradayananda Shastri of Kashi.

This special-effects laden film is based upon an episode from the Ramayana. Indrajit, son of Ravan, initiates an attack on Rama (Mane) and Lakshmana (Kulkarni) in which they are captured by Mahi (Kelkar). They escape with the assistance of Rama's disciple, the monkey-god Hanuman (Manajirao). The narrative foregrounds Chandrasena (Tarkhad), wife of Mahi, who reveres Rama but disapproves of the bacchanalian orgies and the celebration of liquor that is the norm in his kingdom. She helps resolve the stalemate of the battle when Mahi (who can duplicate himself and his dead soldiers) proves invincible, by revealing the secret formula that will kill her husband. In addition to the usual flying figures and magic arrows mandatory for a Ramayana mythological, there is an effective scene of a gigantic Hanuman picking up a miniaturized human figure.

This classic opens with a sensational low-angle circular track movement as Chandika cult followers meet in a dungeon of flickering lights and deep shadow. As the more rationalist King Krantivarma (Varde) banned human or animal sacrifices from the increasingly fanatical festivals dedicated to the goddess, the cult's high priest (Chandramohan/Date) orders the hapless Vishwagupta (Kelkar) to kill the king.

This classic opens with a sensational low-angle circular track movement as Chandika cult followers meet in a dungeon of flickering lights and deep shadow. As the more rationalist King Krantivarma (Varde) banned human or animal sacrifices from the increasingly fanatical festivals dedicated to the goddess, the cult's high priest (Chandramohan/Date) orders the hapless Vishwagupta (Kelkar) to kill the king.

Based on the legend of Tanaji Malusare

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.

Big-budget movie with over 69 songs. 'The Hindi Devmala [Hindi Pantheon] with the Islamic Ravaiyat' are crystallized into a plot structure revolving around a benevolent king whose moral fibre is tested by celestial powers as they cause an apsara (a fairy) to appear before him as a fallen woman begging for mercy.

A social film with high melodrama, concerning a peasant (Shantaram) who loses his land to a greedy money-lender and moves to the city where he becomes a mill worker. Taking its cue from the realist tradition, the film counterposes an idyllic rural life (destroyed but the greedy money-lender who uses forged papers to steal the peasant's land) with the harsh city life. The shot of a hut accompanied by a howling dog are regarded as one of the most memorable moments of Indian cinema to date.

Directed by Baburao Painter.

Ram Joshi, a Brahmin poet, discovers the arts, falls in love, descends into alcoholism, and eventually finds salvation through his poetry.