Maya Banerjee

Ostensibly a Central Asian war fantasy about a conflict between the Cossacks and the Tartars, Mehboob’s film proposes a tale advocating national independence. The Cossacks are oppressed by the despotic Russian king (Siddiqui) and his minister Jabir (Kayamali), who has Tartar blood in him. General Murad (Kumar) covertly sides with the opposition, gets arrested for treason and escapes. He meets the wild Gulnar (Sitara Devi) and gets her to spy as a maid of Princess Nigar (Bibbo). Nigar falls for Murad and Gulnar withdraws from the scene for the sake of her nation. Eventually Nigar, at the head of an army of women, helps defeat the villains.

Born in a low-caste family of chamars (cobblers), Chandu alias Chandrashekhar (Dev Anand) helps his father repair shoes and other footware for a small pittance. One day a girl from a rich and wealthy family, Vidya (Suraiya) stops by to get her shoe repaired. She wants Chandu to stop doing this menial job, and go to school, study and become someone important. She offers help financially, and gets Chandu to school. Both grow up and are attracted to each other. Both intent to marry, but obstacles open up in the form of Harry alias Harilal (Madan Puri), and Vidya's alcoholic dad, who will not permit his daughter to mingle with a boy from a lower caste.

Nightingale (Kokila) is a 1937 Hindi social family drama film directed by Sarvottam Badami

A great drama of life & humanity that's exploring profound human experiences and societal themes

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.

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A hero named Anwar Chacha sacrifices his life to save the young couple, Kishnan and Shyamali, from a villain during their wedding. The heroes then unite to defeat the villain and pay their final respects to Anwar Chacha at his grave.

Mukta and Anand are childhood friends and love each other. But Mukta belongs to higher social class than Anand and her family wants to arrange her marriage with Jawahar, son of a rich man.

A flamboyant film producer Ramesh dotes on his glamorous star, Kishori, while avoiding a return to his village — and the wife he married in childhood, Rajni, whom he hasn’t seen since. When Rajni shows up in the city after a quarrel, unaware she’s competing with Kishori for her own husband’s affection, mistaken identities and meddling antics spark a lively “wife versus mistress” comedy of love, loyalty, and chaos.

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.

A cruel uncle usurps his niece's inheritance, but a kind doctor and his wife help her reclaim it. Their lives intertwine with betrayal, a scheming dancer, and ultimate vindication, proving that providence always intervenes.

A rebellious young woman defies her conservative surroundings and falls in love, setting off a sequence of emotional and social complications. Along the way, she crosses paths with an idealistic doctor suffering from consumption, whose romantic ideals blur the line between healing and heartache. With hints of a "taming the shrew" arc and melodramatic entanglements, Anuradha explores love, agency, and constraint—though much of its story remains lost to time.