Tarasankar Bandyopadhyay

An aging, decadent landlord’s passion for music becomes the undoing of his legacy as he sacrifices his wealth in order to compete with the opulent music room of his younger, richer neighbour.

Narsingh, a North Indian taxi driver, attempts to reinvent his life by visiting his native place, but instead gets embroiled in a local Marwari businessman's smuggling and human trafficking business.

In late 19th Century, Bengal Bhubaneswar Chowdhury (Jackie Shroff) is a wealthy and tyrannical Zamidar (Squire). He has two main obsessions: his desperate attempts for an heir, which even his new second wife Jashomati seems unable to deliver; and competing with his regional rivals to produce the most magnificent effigy of a goddess for the annual Durga Puja ceremony. This year he concocts a master plan - why not change the face of the goddess for the most powerful woman on Earth - Queen Victoria. Meantime his two wives Mahomaya and Jashomati try to look out for one another especially as Bhubeneshwar begins to sexually assault his younger wife each night. Traumatised and lonely, Jashomati is dangerously drawn towards the youthful sculptor who has been employed to create the great effigy of Durga, Goddess of destruction.

Raikamal narrates the story of Rai Kamal, a devotee of Lord Krishna. Rai Kamal and Ranjan are childhood sweethearts. When Ranjan grows up he wishes his desire to marry Rai but his parents are against this match as they are Brahmins and Rai Kamal was a low caste Vaishnav.

A railway porter, Nitai, gains a reputation as a poet after participating in many debates. However, his life is filled with tragedy when he gets involved with women he is not supposed to be with.

The story revolves around Pratima who pledges to destroy the relationship between Neera and Binu, as she loves Binu.

Set in 1941, the film delves into the complexities of rural life in Bengal. It sheds light on the oppressive Zamindari system, a social structure that perpetuates inequality and suffering. By exploring the lives of individuals caught within this system, the film offers a poignant commentary on the changing social dynamics and the growing discontent that would ultimately lead to significant transformations.

Heeru, Naren, and Chandranath were friends. From his college days, Chandranath had been aspiring and ambitious. He is also a man of strict principles in life. He leaves his brother and sister-in-law and goes away to gain immense power and knowledge. In the meantime, he marries and is blessed with a kid. However, Chandranath's quest to learn more drives him to leave his new family as well as he sets off to achieve new goals in life. He not only fails to fulfill his request but ends up losing his family too. On the other hand, Naren hails from a rich family and is a happy-go-lucky-natured man. He appreciates the finer aspects of life. He falls in love with a courtesan and brings her home. Caught between the two friends who have opposite ambitions in life, Heeru wonders which path would bring contentment in one's life. However, Heeru loses control of his life and slowly realizes that his life has become a mirror of Chandranath's life.

A LOST 1958 Bengali Film Directed by Agragami.

Prabir goes to war where he meets his doppelganger, Rataneshwar, who eventually dies in combat. Prabir decides to visit Rataneshwar's family to inform them about his death but the family mistake him for Rataneshwar.

Bipasha and Dibyendu are in love, and the two decide to marry. However, on their wedding night upon receiving a letter, Dibyendu leaves Bipasha before the ceremony to locate his birth parents.

There are a particular class of Brahmins called Agradani, who are to be the chosen to perform the eating rituals on behalf of the dead. Poonnyo Chakraborty, a poor man belongs to the Agradani community lives with his family in a village. Local zamindar promises him to provide lands and money if Poonnyo lie down in front of the room where Zamindar's son is going to be born. In morning Poonnyo watches that zamindar's wife again gave birth to a dead child, soon he replaces the dead son with his new born baby. The baby grown ups as zamindar's son. Only Poonnyo knows that he is the biological father of the boy. One day a circumstances comes where he is forced to perform the funeral rituals for his own son.

The plot revolves around a series of flashbacks that reveal a judge's past and hidden secrets. Gyanendra, a judge, lives with his wife Sarama. Being the Judge, every time he has a trial of similar cases he remembers his past, the truth about his questionable actions. Gyanendra always recalls when he was a popular lawyer, married to Sumoti, a suspicious and rude lady. But he had a weak feeling for his professor's daughter Sarama. One day Gyanendra's house was burnt and his first wife Sumoti died. Gyanendra could not make any attempt to save her, perhaps he was unable to bear Sumati further. Thereafter he marries Sarama and becomes a judge but he realizes his crime and his past haunts him much.

Moni, a Bengali woman, marries Ranju, a young man who belongs to a wealthy family of landlords. However, her marital bliss is short-lived when she discovers a string of secrets and conspiracies.

During WWII an army doctor is brought a drunken Anglo-Indian woman, whom he'd once loved, for treatment.

Maryada was a Bengali drama film directed by Digambar Chattopadhyay. This movie was released on 15 December 1950 under the banner of Bhabani Kalamandir Limited. This is the third and first movie in which legendary Bengali actors Uttam Kumar and Bibhu Bhattacharya appeared respectively. In this movie, Uttam Kumar leaps on a song for the first time in his career.

The school of a remote and poor village shut down, the head master Krishna Prasanna (Chhabi) migrates to city in search of job. He moves with family, wife Labanya (Karuna), nubile daughter (Ranjana) and very young son. He takes residence with his wife's brother. He meets per chance one of his ex students, of whom he used to take free evening classes and many of whom got merit scholarship and became cream of society, a doctor, a judge, successful lawyer, manager of a big bank and so on. Can he cross the barrier and meet them? All have big bungalows and office with watchmen to stop. If he managed to meet them, will they recall his contribution and help their benefactor? If they do, what change he has to bring in himself? Can he?

Pratima is a 1977 Indian Bengali family drama film directed by Palash Bandyopadhyay.

Setap, a money-minded man, gets insecure when he hears a rumour about his dutiful wife and spendthrift brother, Mahatap. Soon, things go out of hand when Setap's rage takes over. Setap became mad hearing those words from Ghoton.

Set in 1920's during the British Raj, the film is about the breakdown of socio-economic structures, impact of industrialization and non-cooperation movement in rural Bengal.

Pradyut Sen is an allopathic doctor who moves to Nabagram to run his practice. However, as the village already has an ayurvedic doctor, Jibon Sen, Pradyut develops a dislike for him.

A film by Tarashankar Banerjee.

One of the early films of Chhabi Biswas featuring him as a leading man, before he came to be associated with the dominating patriarch roles that have become iconic in Bengali cinema, the film is a tale of the love, relationships and ideals of two generations. Nutubihari is an idealist who has given up his love for Kalyani for the sake of his beliefs. He marries Bimala and becomes a lawyer, fighting for the rights of the poor against the feudal lords. Meanwhile, Kalyani comes to ask refuge after she becomes a widow and is inexplicably accepted by Bimala with a lot of warmth. As the years pass Kalyani's daughter Mamata and Nutu's oldest son Arun fall in love and wish to get married. However, the new-found fame and fortune turns his head and Nutu begins to resemble all the ideals and vices that he had always despised. On the other hand in an ironical turn of events, Arun comes to occupy the position once held by his father, highlighting the generational conflict of ideals.

Bollywood 1970