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A classic period movie. It is set in the Ottaman empire where Caesar's Roman armies clash with the Muslim kingdoms. Ziyad, the son of the sultan, is captured by the Romans. Rahil, a Roman princess, falls in love with him and asks the Muslim woman Leila to guard him. Leila smuggles a message written in her blood to the sultan.
The film begins with the finishing of a water canal for the village set in the present. Radha (Nargis), as the mother of the village, is asked to open the canal and remembers back to her past when she was newly married, mirroring the new independence of India. The wedding between Radha and Shamu (Raaj Kumar) was paid for by Radha's mother-in-law, who got a loan from the moneylender Sukhilala. This event starts the spiral of poverty and hardship that Radha endures. The conditions of the loan are disputed, but the village elders decide in favor of the moneylender, after which Shamu and Radha are forced to pay three-quarters of their crop as interest on the loan of 500 rupees. While trying to use more of their land to alleviate their poverty, Shamu's arms are crushed by a boulder. He is shamed by his helplessness and is humiliated by others in the village. Deciding that he is no use to his family, he leaves and does not return. Soon after this, Radha's mother-in-law dies. Radha continues to work in the fields with her children and gives birth again. Sukhilala offers to help alleviate her poverty in return for Radha marrying him, but she refuses to sell herself. A storm sweeps through the village that destroys the harvest and kills Radha's youngest child, and the villagers start to migrate but decide to stay and rebuild because of Radha's urging. The film then skips forward several years to when Radha's two surviving children, Birju (Sunil Dutt) and Ramu (Rajendra Kumar), are young men. Birju, embittered by the exactions of Sukhilala since he was a child, takes out his frustrations by pestering the village girls, especially Sukhilala's daughter. Ramu, by contrast, has a calmer temper and is married soon after. He becomes a father ,but his wife is soon absorbed into the cycle of poverty. Birju's anger finally becomes dangerous and, after being provoked, attacks Sukhilala and his daughter and violently lashes out at his family. He is chased out of the village and becomes a bandit. On the day of the wedding of Sukhilala's daughter, Birju returns to exact vengeance. He kills Sukhilala and takes his daughter--but Radha, who had promised that Birju would not do harm, shoots Birju, who dies in her arms. The film ends with her opening the canal and reddish water flowing into the fields.
Ostensibly a Central Asian war fantasy about a conflict between the Cossacks and the Tartars, a tale that advocates national independence. The Cossacks are oppressed by the despotic Russian king and his minister Jabir, who has Tartar blood in him. General Murad covertly sides with the opposition, gets arrested for treason and escapes. He meets the wild Gulnar and gets her to spy as a maid of Princess Nigar. Nigar falls for Murad and Gulnar withdraws from the scene for the sake of her nation.
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.
Initial films of Mr. Mehboob Khan, Nargis and Motilal who later became legends of Hindi Cinema. So there is a very raw feeling to entire film.But what kept me engaged is the brilliant acting of Noor Mohammed Charlie as "seth Bdri Prashad" It made me ROFL.I have heard a lot about Mr. Charlie but have not seen any film of his. This is my first experience of Mr. Charlie and I am not disappointed.
Having saved his little sister Bina (Baby Meena Kumari) from the floods, Amar (Sheikh Mukhtar) becomes increasingly possessive about her over the years. Amar falls in love twice but forgoes marriage so he can look after the growing Bina. Bina (Nalini Jaywant), now a grown up young girl falls in love with the social activist Rajendra (Harish). However, Amar can not bear to lose Bina and so he plans her marriage to the thief Moti Kanhaiyalal, with the idea that he'll get her divorced after some time and then Bina would stay with him always. After several incidents that end up uniting Rajendra and Bina, Amar gets some happiness when a daughter is born to Bina.
Nina is a rich and spoiled girl. Dilip accidentally meets her and starts liking her, not knowing that she is already engaged.
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.
A poor farmer conquers the love of an Indian princess, whose brother wants to kill their father to become king.
A delicately nuanced psychological drama, exploring a 3-way relationship between the main characters and the crisis of conscience that rocks it. A prosperous, well-respected lawyer, in love with and engaged to an educated, socially-conscious young woman, rapes a poor local village milkmaid. The rest of the story deals with the aftermath of this tragic event, with all the inevitable undercurrents of guilt, penitence and pervasive heartbreak that stem from it.