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.

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

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

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.

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.

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.