Baradidi

Shiromoni, a village priest sends his son on an errand to the house of Mr. Mukherjee. On his return Kashinath discovers his father is no more. With no kin to support him Mr. Mukherjee suggests that Kashinath should move over to live with Mr. Pitambar Chakraborty, the zamindar [Landlord]. Kashinath however, is in no mood to leave Mr. Mukherjee's home as he has started to grow attached to Mukherjee's daughter Bindu.

Young Mahendra belongs to a family of musicians, but once the family is cursed by their teacher. Mahendra's elder brother becomes blind and to avoid the same fate he goes to Kolkata and lives in the house of his father's friend Umeshchandra. He gets romantically involved with Umeshchandra's daughter Madhuri. Madhuri tries to make Mahendra modern and pursue his musical career. Despite his good singing ability, Mahendra refuses to accept this due to his family values. He leaves their home and takes shelter in Kolkata. But the curse strikes him also and he falls seriously ill.

Shudhu Ekti Bachhar is a romantic comedy that is based on a comical situation which finds the female protagonist having to marry a complete stranger according to her father's will. The stranger she is to be married is a funny boy whom she is at cross ends with. The story goes on with this baseline, that they agree to stay married for a year and the comedy rolls on there forth. There are many quarrels, misunderstandings and childlike fights, which all add to the comical content of the movie. All characters add life to the story with hilarious punch-lines and comical episodes. And in the end the two main leads falling in love with each other and living happily ever after.

The poor but educated Mahim and his childhood friend, the rich but conservative Suresh, both fall in love with the same woman, the liberated Achala. Mahim marries her and they move to a village but she cannot forget Suresh. Her smoldering unhappiness takes the form of resentment towards the orphaned Mrinal, raised by Mahim's father, and receives a dramatic visual embodiment when their house burns down. Mahim falls ill, is rescued by Suresh, and nursed back to health by Achala. On a train (a metaphor for the irreversibly linear course of life) to a health resort where Mahim is supposed to convalesce, Suresh on a rainswept night gives in to temptation and elopes with Achala. At the end of the film, there is a dubious reconciliation as Achala is shown following Mahim's 'good' traditionalism with Sharatchandra's barely concealed hostility towards Achala's liberated Brahmo Samaj upbringing.

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

Set in the early 20th C. Calcutta Theatres industry. Kamala (Kanan Devi) is the star of the Ruby Theatre owned by her guardian Maheshbabu. Narendra (Sanyal) is the equally popular star in the rival Bina Theatre, which he abandons to join the Ruby repertoire when he falls in love with Kamala. In a lyrical sequence in the countryside, they marry in a poor peasant setting. Narendra then shows his true colours and forbids Kamala to continue her acting career. She returns to the stage anyway while Narendra stays among the peasants. He later returns to the Bina Theatre and its success is intercut with the bankruptcy of the Ruby Theatre.

A story about a young man, who had to quit his studies as a doctor due to difficult circumstances, coming back and saving a young lady by performing a very difficult surgery.

A 1947 Bengali Film directed by Premendra Mitra.

Devdas, the son of a zamindar, and Parvati, his neighbour's daughter, are childhood sweethearts. However, class and caste differences prevent their marriage. Devdas is sent off to Calcutta, while Paro is married off to an aged rich widower. In Calcutta, as remorse drives him to alcohol, Devdas meets Chandramukhi, a prostitute. All Indian prints of this Bengali version were destroyed in a fire that ravaged New Theatre’s studios. Today, only one copy of the film survives which belongs to the Bangladesh Film Archives. Of that copy almost forty percent is destroyed.

Dena Paona is a dramatic exploration of societal pressures and personal redemption. The film follows Sorashi, a strong-willed temple priestess, as she confronts the challenges of a troubled marriage and a disapproving community. Her journey towards self-discovery and reconciliation with her husband forms the heart of this compelling story.

Rajat, a young man, meets Manju, a rich girl whose father is looking for her. Though Rajat initially slyly tells her father her whereabouts, he ends up falling in love with her.

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.

Satyendra, the scion of a wealthy Bengali zamindar family, is married by family duty to an eleven‑year‑old girl, Radharani. Emotionally detached, he grows closer to Bijli, a mature, self‑sacrificing courtesan.

A middle-aged bank clerk happens on a stone with alchemical properties, allowing him to turn steel into gold.

A writer meets five widows on a train to Puri. As the six lives begin to intertwine, the theme of the taboos of widowhood emerge; but so, too, does a philosophy of life and hope for the future. The performers collectively won Best Actress at India's National Film Awards in 1964.

This film is about Chandidas, a legendary 15th-C. Bengali Vaishnavite poet whose biography remains obscure but was an influence on the better documented Chaitanya (1486-1533), a school teacher who promoted the Vaishnavite ideology in Bengal, mostly through hymns about the Radha-Krishna legend.