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- 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.
- Story of a boy who finds enlightenment by experiencing religious hypocrisy and dogmatism. Dnyaneshwar liberated the "divine knowledge" locked in the Sanskrit language to bring that knowledge into Prakrit (Marathi) and made it available to the common man.
- Neera is trapped into marrying an old widower Kakasaheb. Neera refuses to consummate the union claiming that while suffering can be borne, injustice cannot. Neera faces many hurdles.
- This film chronicles the life of Tukaram (17th century), one of Maharashtra's most popular saint poets, activating the 20th century resonances of his turning away from courtly Sanskrit towards vernacular rhythms of religious poetry which constituted the first major emancipatory movement against Brahmanical caste domination. The episodic plot pits Tukaram (Pagnis) against the Brahmin Salomalo (Bhagwat), who pretends to be the true author of Tukaram's songs while calling for his ostracization.
- An 18th century student given the honorific "Shastri" for his authority on religion, and uses his influence to speak out for honesty and justice, leading him to reject a court position for a life instead of prayer and asceticism.
- Asha lives a wealthy lifestyle along with her widower dad, Shyamrao Dhaneshwar, studies in an arts college, and adores the college's most brilliant yet poor student, Ashok Deshmukh. Both continue to meet every week at 10 O' Clock at night, and he even introduces her to his family, which consists of his widowed mother and younger sister, Usha. Asha will soon realize that being wealthy does have it's disadvantages when she will be forbidden to see Ashok anymore and must obey her dad's wishes and get married to equally wealthy Dr. Ramesh.
- The story concentrated on the topical issue of Hindu-Muslim unity, making a "strong plea" for it. The film was made against the backdrop of communal tension at the formation of the Muslim League in pre-independance era.
- An adventure movie, set in a medieval Rajput court, mainly addresses Rajput notions of chivalry. The legendary warrior Mansingh (Phatak) is the nation's strong man but he is cordially hated even by his own people. Claiming to have been offended by Taramati (Tarkhad), he insists to her eminent father only a marriage (on terms insulting to her) can placate him. He becomes a tyrant imprisoning large numbers of people, and eventually Taramati's father, also in prison, leads a popular revolt, threatening to kill his son-in-law.
- This film based on the Tantric legend about the guru Machhindranath (Tembe) and his disciple Gorakh (Master Vinayak) on the subject of 'maya' (belief in the illusory nature of worldly temptations). The guru appears to his student to have entered the kingdom of man-hating women, married the queen (Khote) and abandoned his commitment to celibacy and pure thoughts. Gorakh sets out to rescue him but the entire experience turns out to be an 'illusion' set up by the master.
- A giant mud monster terrorizes India.
- This mythological tells of the playful child Krishna (Marathe) and his battle against the evil King Kamsa (Ganpatrao) who rules the city of Gokul. The stories, mainly from the popular 'Bhagvat' and 'Vishnu Purana', also show Krishna vanquishing Keshi (Haribhau), Kamsa's general who arrives in disguise to capture him. Finally, when Kamsa unleashes rain and flood over the city (in a departure from the original legend where Indra caused the natural disaster), Krishna raises the mountain Govardhan over the people to protect them.
- 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. He obeys but is then betrayed by the perfidious priest and caught. His son Madhavgupta (Mane) and daughter Sumitra (Apte) together with the princess (Tarkhad) and the people finally overthrow the priest. There are several famous scenes, including the twice-told legend of the churning of the seas, once by the priest to show how evil must be exorcised, and again by a good general to show how demons often appear disguised as gods. Although invoking divine intervention when Madhavgupta is about to be sacrificed, the film's strongly political thrust has the people rise in revolt.
- This Puranic tale about the antics of Krishna as a child. The conflict between Krishna and the evil Kamsa, king of Mathura, was to be seen as representing the conflict between the Indian people and the British rulers. The playful family film's highlight, apparently, is when the loin cloth of a little boy playing on the swing with Krishna came lose and revealed his penis.
- 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.
- When Bhagwan Shri Narad Muni informs the inhabitants of Swarglok about Raja Harishchandra's compassion and generosity, Sage Vishwamitra decides to verify this for himself and travels to meet the Raja. Once there, he demands the Raja's kingdom, and after receiving it, asks one of his disciples to be the new Raja. Not satisfied, he asks Harishchandra, his wife, Taramati, and son, Rohidas, to take off all their ornaments and royal clothing, go into exile, as well as labor, earn a thousand gold coins in two months, and remit this to him as his Dakshina. Harishchandra agrees, and re-locates to Kashi where his entire family work to collect wood for a cemetery, and then are hired by Mahajan Ganganath. At the end of two months, all they accumulate is a mere 10 gold coins. It is then Harishchandra decides to sell himself in the slave market - a decision that will alter their lives forever.
- College students Dilip and Asha are in love, but Asha's father insists she marry a certain Dr. Ramesh. When Dilip is seriously injured in a road accident, Dr. Ramesh is faced with the prospect of operating on, and thus saving the life of, his romantic rival.
- This was the first film that explicitly politicized the figure of the enormously popular 17th C. Maratha emperor Shivaji. Key scenes include Shivaji's invocation of the goddess Bhawani who blesses his sword, and Shivaji putting up the saffron flag on the Sinhagad fort at the film's climax.
- Radical journalist Diwakar (Modak) runs a printing press and edits a newspaper, much to the disapproval of his authoritarian middle-class father who believes that all respectable youths should get a job and settle down. Diwakar's scheming politician friend Vithalrao (Thegadi) incites a strike and acquires the press and the paper with the help of Diwakar's father, causing Diwakar to leave home in disgust. His rich girlfriend Nalini (Hublikar) also enters politics, first on the side of the corrupt Vithalrao, then campaigning for Diwakar who represents the slum-dwellers for the municipal elections. Although Diwakar's father campaigns on behalf of Nalini, she tells people not to vote for her but to elect Diwakar instead.
- A love tragedy featuring a policeman, Moti (Modak) and a prostitute, Kesar (Hublikar). Moti saves Kesar from a police raid on a brothel and they fall in love. Her reputation and sense of guilt resist his attempts to rehabilitate her. Moti's respectable middle-class mother (Sundarabai) symbolizes all that Kesar would like to be, but she is arrested for murdering her evil uncle and refuses Moti's offer to release her from prison.
- This mythological tells of the playful child Krishna (Marathe) and his battle against the evil King Kamsa (Ganpatrao) who rules the city of Gokul. The stories, mainly from the popular 'Bhagvat' and 'Vishnu Purana', also show Krishna vanquishing Keshi (Haribhau), Kamsa's general who arrives in disguise to capture him. Finally, when Kamsa unleashes rain and flood over the city (in a departure from the original legend where Indra caused the natural disaster), Krishna raises the mountain Govardhan over the people to protect them.
- An adventure movie about a king (Bhosle) who is overthrown by the perfidy of his villainous Commander (Pendharkar). The young prince (Vinayak) defeats the villain, reclaims the throne and restores his father's honour.
- The film focuses on the 17th-C. Maratha emperor Shivaji's lieutenant (and folk hero) Tanaji Malusare (Bhosle). Here Kamalkumari, about to commit sati (self-immolation), is captured by Udaybhanu (Pendharkar) and taken to his fort at Kondana.
- 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.