No synopsis available yet.

A devoted woman, Badi Maa dedicates her life to raising her deceased friend's child, her love and sacrifices influencing all around her, leading to emotional conflicts as the child matures.

Fazlu, a lifelong servant, is wrongly imprisoned after being blamed for his master's son's death. He escapes, believing his newborn is the child reincarnated. The film follows Fazlu's heartbreaking journey as he watches his family crumble under economic hardship, ultimately leading him back to prison.

A social woman-centered film interrogating aspects of feudal patriarchy. The painter Ashok (Surendra) who loves the orphaned Vimala (Bibbo) is distressed to learn that she is due to marry Jagdish (Yakub). He paints Vimala's portraits with a frenzied obsession and becomes a famous artist. Paralleling this love story is the decline in Ashok's family fortunes.

A social drama centered on the life and struggles of an orphaned child. The film explore themes of vulnerability, resilience, the search for belonging, or the challenges faced by someone without familial support in society. It aim to evoke empathy and highlight societal responsibilities towards orphans.

The naive Saroop (Nandrekar) romantically renounces earthly pleasures under the influence of a sadhu (Ashraf Khan). Arrested at a fairground and jailed, fellow convicts change his view of the world. Working in the prison’s garden, he meets the superintendent Sohanlal’s (Nazir) daughter Durga (Kumari), who was married as a child to a boy now believed dead. Ranjit (Singh) covets her and on her wedding day to the nasty Ranjit, it is discovered that Saroop was her child-husband.

A class division melodrama centred on Mehtab’s histrionics. Kiran (Mehtab) is the daughter of a courtesan. Her lowly origins first destroy her marriage and then threaten to jeopardise her son Prakash’s (Singh) ambitions. She is blackmailed for keeping her son’s parentage a secret from him, forcing her to return to her ancestral profession. The film was a commercial success.

A musical romance drama centered on a character known for their beautiful singing from the Punjab region

Mehboob presents the autonomous passion of Leela (Rose) for Moti (Motilal) who is promised to another woman, Bina (Maya). Leela is portrayed as irresponsible and impulsive as she acknowledges her desire for Moti and has a child by him. Bina then releases Moti from his promise. Moti suffers when he is told by Bina’s father (Sankantha) that she is dead, while Leela’s father (Pande) enjoins his daughter to commit suicide if Moti does not marry her. In spite of the film’s endorsement of ‘traditional’, lethally oppressive patriarchal mores, incarnated by the women’s fathers, Mehboob’s narrative at least dares to depict a woman who refuses to feel guilty about her desire.

An Indian drama about a woman's courageous quest for personal goals.

No synopsis available yet.

A drama set in a Muslim family. Safhar's inheritance is lost, thanks to his sister-in-law, but he is still expected to complete his late father's work of building a mosque. If he cannot complete the work, then Salim must take over, but he goes off to fight in the Balkans, leaving the sister-in- law's orphaned daughter to complete the task. In doing so, she will lose her freedom, so she has a difficult decision to make.

The educated Harbala battles the oppressive traditionalism of her husband, Seth Gopaldas. Desperate for her children, Somnath and Neelam, to live freely, her frustration leads to a tragic act. Haunted by guilt, her children ultimately follow. The film, aptly titled "The Unfinished Tale," suggests hope for a more liberated future.

A psychiatrist spirals into madness after being tricked into marrying the wrong sister. When his obsession with her sibling grows, he uses his medical authority to turn her insane and imprison her within his own asylum.

The follow-up to Manmohan (1936) again starred Surendra and Bibbo. She is Neela, he plays Jagirdar Surendra. They secretly marry and have a child. When Jagirdar is presumed dead in a shipwreck, the child is considered illegitimate. The poor peasant Shripat (Pande) helps Neela by marrying her and raising her son Ramesh (Motilal). The husband eventually returns and violently quarrels with Shripat about who ‘owns’ Neela. When the villain Banwarilal kills Shripat, the husband is framed for the killing. The real problem, however, is the son’s rejection of his father, solved when together they face the gangsters in Narayanlal’s (Yakub) den.

Laxmi, an "untouchable" woman fights for her community's rights against societal discrimination. She faces personal hardship and resistance from authorities, ultimately leading a movement for equality and temple access, while advocating for deeper societal change.

Najma is a 1943 Indian film directed by Mehboob Khan and starring Ashok Kumar and Veena. The film's music is by Rafiq Ghaznavi with lyrics by Anjum Pilibhiti. Najma was the first film under Mehboob Khan's Mehboob Productions banner. Due to its financial success upon release, the film became a blueprint for Muslim socials that followed.

An unusual story of Mangala, a young blind widow who believes her deceased husband still communicates with her

The story of two brothers, Dhiraj and Shashi, and their rivalry. The cunning Dhiraj mortgages their ancestral property, causing complications for his innocent brother Shashi and their family. The plot also explores the contrast between rural (Unmad village) and city life, as both brothers originate from Calcutta.

A cautionary tale about wealth not bringing happiness. The blind Mohan (Kumar) lives in a village with his ward Radha (Madhuri). He wins a fortune with a sweepstake ticket sold to him by the tramp Ramesh (Charlie), who claims his due and begins to take over Mohan’s life, making him move to the city and getting him married to Chinta, a prostitute. When Mohan’s eyesight is restored, he finds that his wife is having an affair with Ramesh. Mohan takes revenge and eventually lands up in his old village, a poor man, but with Radha still unchanged, waiting for him.