An early example of social realism that reached its height with 'Udayer Pathey' and more memorably with 'Chhinnamul', 'Doctor' was meant as a stringent critique of practices that were beginning to be deemed as persistant evils that plague society, namely superstitions, religious dogma and discrimination on the basis of caste. However, that would be a far too simplistic reading of the multiple thematic elements that tie together the narrative of 'Doctor'. The idea of caste based discrimination, violence and upper-caste hypocrisy is placed alongside the notions of generational conflict in a father-son relationship and the idea of a ever-widening generation gap especially in the historical and socio-political context of the film.

This classic adultery story tells of an artist, Prasanta (Barua) presented in the stereotypically romantic image: dedicated to his vocation, paying no heed to his scandalous reputation (he paints nude models) and with a cavalier attitude to his conservative father-in-law's (Choudhury) demands for a good social behavior.

A wife rejected by her in-laws following her abduction is given shelter by the husband's friend. The storyline follows the wife's ambivalent feelings for her savior when she's accepted back into the family.

Melodrama about lineage and property questions. Nikhilesh (Barua) loves heiress Indira (Jamuna). A poor orphan girl, Radha (Menaka Devi), arrives claiming to be Indira's stepsister and therefore part inheritor of the family estate. Indira agrees to share her inheritance but then Radha makes a play for Nikhilesh. Ultimately, Radha turns out to be the real and sole heir. Love proves to be stronger than material possession as Indira and Nikhilesh get married and Radha finds happiness with Ratan, a man she had known and loved during her days of poverty. As each character returns to the class of his/her birth, the message hammered home is a warning to people never to transcend their social status.