Devbala

Badi Bahen aka President is a 1937 Hindi social romantic drama film (the Bengali version was called Didi and starred several different actors). The story according to the credit roll of the film is "A tale of love and greater love" developed on an idea by M. M. Begg. It was a love triangle with a social content that highlighted the conditions of the mill workers. It was also the first film to show a liberated educated woman managing her own factory

Gora and Mahim were two sons of Krishna Dayal Babu. From childhood, Bijay and Gora were friends. Through an accident, Bijay was introduced to Paresh Babu's family. Paresh was a Bramhin. So Gora did not like Bijay's visit to that house. Gora's mother was very anxious about Gora's Hindusim. Krishna Dayal was also very annoyed being an orthodox Hindu. As per his father's request, Gora went to Paresh Babu's house. Paresh babu's wife Bhadra Sundari was not happy seeing Gora there. But Gora had a real conflict with Haran Babu. The marriage of Haran Babu and Suchitra was almost fixed. The reason of the conflict was that, Haran Babu always thought of himself to be a social reformer and saviour of Brahma religion.

An idealistic writer from a humble background clashes with a wealthy capitalist who steals his work. When factory workers strike, the capitalist's sister, disillusioned by her privileged life, abandons her wealth to join the writer in his fight for social justice and equality for the poor.

Haria, an elephant driver, loves gypsy girl Gulabi, but faces rivalry from Ajay, the tea estate owner's son. After Ajay kills Haria's elephant, Raja, Haria seeks revenge, intertwining with a family secret and inheritance dispute.

A 1939 Bengali Drama Film directed by Prafulla Ray.

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.

A 1938 Bengali Drama Film directed by Jyotish Bandyopadhyay.

A famous radio singer Mohan (Saigal) is in love with Geeta (Leela Desai). When he goes to his friend a doctor, TB Specialist, Bijoy (Bhanu) for a check-up, he is found to be in an advance stage of TB. Meanwhile Leela's dominant mother and aunt (Nibhanani and Manorama) had been against the poor Mohan and had set their eyes on same Dr. Bijoy, the son of a family friend. When Mohan comes to know of it, and also his sickness, he decides to walk away from them. He is intercepted by a doctor who ran a sanatorium for TB patients, with some new method of treatment. Geeta couldn't forget Mohan and waited, but in the end she had to relent. Then it was known that Mohan was alive and cured. What would now Bijoy and Geeta do? There wedding was the next day, and they have to go ahead with it, the honour of both the families were at stake. Mohan too aware of his being exposed, disappears from the sanatorium and is untraceable.

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.

Aankhijal is a 1932 silent Bengali movie directed by Kalipada Das.

A tenant attacks the villainous landlord Jawaharlal Choudhry, injures his son Priyalal and abducts his daughter-in-law Sandhya. Sandhya escapes unharmed to her relative, the engineer Praksh, but her father-in-law refuses to take her back, believing her to be 'damaged goods'. Sheltered by the kindly Promode, her husband eventually accepts her back although she feels torn between affection for her savior and her marital obligations.

A 1939 Bengali Mythological Film directed by Phani Burma.

Punarjanma is a Bengali drama film released in 1932 and directed by Premankur Atarthi.

The wealthy, self-obsessed, and possibly crazed Manoj (Barua) is sent by his concerned family to the rural estate of his future father-in-law. Along the way, however, he gets lost and soon finds himself taking shelter in the abode of the railroad stationmaster whose beautiful, down-to-earth daughter, Meena (Kenan Devi), Manoj finds irresistible. When his haughty, progressive-minded fiancée gets wind of this, she freaks out and soon there is a showdown between the two women. In the aftermath, Manoj finds reason to go with his heart and marry Meena.