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A respected village schoolteacher falls for a travelling dancer and faces a moral dilemma.
A righteous king faces a divine test when celestial powers send a fairy disguised as a desperate woman seeking his mercy, challenging his moral judgment and wisdom.
Neera (Apte) is trapped into marrying an old widower Kakasaheb (Date). He is a progressive lawyer with a son and daughter of Neera's age. Neera refuses to consummate the union claiming that while suffering can be borne, injustice cannot. Neera faces many hurdles including her mother-in-law and a lascivious stepson Pandit (Nene).
Ayodhyecha Raja, literally "The King of Ayodhya", was the first Marathi talkie. It is based on the mythological story of Raja Harishchandra of Ayodhya and his test by sage Vishwamitra, as recounted in Valmiki's epic, Ramayana. The film was also made as a double-version, Ayodhya Ka Raja (1932) in Hindi, making it the first double version talkie of Indian cinema.
During the Partition of India, Mohini is abducted and raped. Upon returning to her family, she faces rejection from society. In revenge, she becomes a smuggler, dealing in illegal arms. She falls for fellow refugee Satish, and when he's implicated, she confesses and surrenders.
Following a passionate encounter with King Dushyanta (Chandramohan), the comely Shakuntala (Jayashree) finds herself pregnant and rejected by the royal court. She gives birth in a forest to a son which she names Bharat (Kumar Ganesh). When the King tracks his former lover down and tries to take her back, she flatly refuses him.
Chandrasena, wife of their captor Mahi. Despite her loyalty to Rama, she despises the decadence of her husband's kingdom. As the battle rages and Mahi proves invincible with his ability to duplicate himself and his fallen soldiers, Chandrasena holds the key. She reveals the secret to defeat her husband, turning the tide of the war. Expect grand visuals, including classic flying figures, magical arrows, and a memorable scene of a gigantic Hanuman dwarfing a human figure.
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.
Diwakar is a poet and loves his wife Jamuna on everything. But Jamuna does not agree that Diwakar lives out of sheer poetry in a fantasy world and the real world less and less responsible. Diwakar goes so far that he is a fantasy woman in his wife's body creates what he calls Mohini. Diwakar will soon become a recognized poet and Jamuna gives birth to a boy. Unfortunately, the happiness does not last long: Diwakar loses his job because of a critical songs against the British. Now he can no longer feed his sickly father nor his son, who is starving. All this makes Jamuna angry, but above all Diwakars growing obsession with Mohini. As Jamuna decides to live apart from Diwakar, it is destroyed internally and no longer capable of proof. Jamuna slowly realizes that she can not live without Diwakar and forgives him.
Set during the Pandavas’ exile in the Mahabharata, the story focuses on Draupadi living incognito as a maid-in-waiting named Sairandhari in King Virata’s palace. The arrogant Keechak becomes obsessed with her, prompting Bhima (disguised as a cook) to intervene and kill Keechak to protect her honor.