Gangadhar Naskar

A pre-teenager servant boy dies of carbon monoxide poisoning on a cold winter night. He was employed by a young working Calcutta couple with a small boy of their own. Taking money from a neighbor's friendly daughter, he slipped away to watch a movie on a cold winter night. Finding his usual sleeping corner below the stairs too cold, he bolts himself inside the kitchen, where a fire was burning. The next morning we witness a powerful discovery scene like on the morning after Macbeth's murder. The door is forced open and we see the commotion in the apartment block which is the stage of the drama. Who is responsible?

Burning with a desire to be a journalist, a young man gets his chance when a publisher -- the father of a friend -- suggests that he write a story on the daily life of the people in his house (several families worth of people). The material turns out to be too incohesive and abundant to work into a pointed, thematic article, and just when he is about to give up, his younger brother asks him a simple question: "How many coal burners are there in Calcutta?" This triggers an idea for a story about Calcutta's pollution -- and the aspiring journalist dreams of myriads of burner-toting citizens invading the publisher's home demanding redress. Maybe he is finally on the way to a story that matters.

A young, idealistic director arrives in a village to make a picture set during the Great Bengal Famine. It’s a film that he hopes will reveal the problems and privations still current in rural India.

Герой фильма — деревенский парень, выгнанный нуждой в город и обитающий на окраине Калькутты среди городских бедняков.

A father living on the fringes of a village believes that working is a fool's errand, for the lord takes what little the workers make. When a young woman enters their home, tensions begin to rise and their idle life is threatened. The film is based on the story ‘Kafan’ by Munshi Premchand

A political activist escapes the prison van and is sheltered in a posh apartment owned by a sensitive young woman. Both are rebels: the activist against political treachery and the other on social level. Both are bitter about badly organized state of things. Being in solitary confinement, the fugitive engages himself in self-criticism and, in the process, questions the leadership. Questions are not allowed, obeying that is mandatory. Displeasure leads to bitterness, bitterness to total rift. The struggle has to continue, both for the political activist, now segregated, and the woman in exile.

Ranjit is a young man who has been assured a lucrative job. All he has to do is turn up for the interview dressed in a western style suit, but all the city laundries are on strike that morning, and his only suit is dirty.

A young man still to find a place in the sun puts up an innocent bluff to a young girl he chances upon. They meet frequently since then. Bluffs continue to pile up. There is no way out. In a desperate bid the young man tries to break the wealth barrier. His friend, well placed in life, cautions him. He turns a deaf ear. The inevitable happens. The young man grows wiser but pays heavily for it.