1920s Indian Movies

Raman and Radha are together, sharing for the first time genuine conjugal happiness, Radha is also happy because she has, presumably, killed her internal demon with a message from Krishna, that she finds Him in her husband. But then the demon resurfaces again: the nightmare continues.

Two neighboring kings addicted to gambling, Ranjit and his cousin Sohat, vie for the same beautiful young woman, Sunita, daughter of the hermit Kanwa.

An early silent drama centered on a notorious "black thief"

Living an indolent life in a luxurious palace, Prince Gautama (Rai) is insulated by his family from the harshness of the world outside. But he is destined to learn greater truths: shocked to discover the pain and suffering of so many in his kingdom, he abandons his privileged existence, and his wife Gopa (Seeta Devi), to become a wandering teacher, eventually finding enlightenment and founding Buddhism. Featuring superimposed images and deep-focus shots that were highly impressive for the time, Light of Asia astutely combines a deeply felt spirituality with the surefire attraction of Indian exotica, which helped make it a considerable success in Europe.

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This love story claims to uphold the tradition of domesticated female virtue. The story tells of virtuous Sushila and her husband Pratap, who leads a peaceful life until her former suitor Jaswant arrives on a social call. His appearance prompts Pratap to suspect his wife's marital fidelity and he drives the visitor away.

Probably the first Indian film directed by a woman. It was a big-budget fantasy abounding with special effects set in a Parastan or fairyland.

Baburao Painter’s mythological silent feature SatiSavitri (1927) narrates the tale of love and devotion of legendary Savitri, who won back her husband from the Lord of death Yama. Only 32 minutes exists.

Mythological story based on the Puranic legend of the boy Dhruva. His quest for eternal salvation was rewarded when he became the brightest star in the heavens. The pole star is known as Dhruvatara.

Seminal silent historical film, the story features King Munja, ruler of Aranti, famed warrior and patron of the arts. Munja (Sandow) falls into the hands of his arch enemy Tailap, who received assistance from Bhillam (Altekar), king of Dharavati. Tailap orders that Munja be put to death but is held back by Tailap's powerful sister Minalvati (Fatma Begum), a widow who first wants to break Munja's spirit. Instead, she and Munja fall in love.

A social film with high melodrama, concerning a peasant (Shantaram) who loses his land to a greedy money-lender and moves to the city where he becomes a mill worker. Taking its cue from the realist tradition, the film counterposes an idyllic rural life (destroyed but the greedy money-lender who uses forged papers to steal the peasant's land) with the harsh city life. The shot of a hut accompanied by a howling dog are regarded as one of the most memorable moments of Indian cinema to date.

Based on a popular legend, this silent film tells the story of the fairy Bakavali and her divine flower, the Gul, which possesses healing powers. Taj-ul-Mulk, a prince from the East, seeks the flower to cure his blind father. The legend's origins are debated: one version traces it to a 19th-century translation of a Persian tale, while another points to a 16th-century narrative from Abely Sheikh. The story was a favorite on the Parsee stage, particularly the scenes where Taj-ul-Mulk battles his villainous brothers, who steal the flower. The tale also features Bakavali turning to stone and her eventual human rebirth.

A silent fantasy film centered on the court of the god Indra. Based on Agha Hasan Lakhnavi's play Indrasabha

A silent social drama exploring themes of treason and retribution. The film would have told a moralistic tale about a character who acts as an "enemy of the nation" and faces divine or karmic punishment for their actions.

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This film tells two independent stories from the Mahabharata. The first part features the princess Savitri, who stands by her husband, the woodcutter Satyavan, when he is marked by Yama, the god of Death. When Yama fulfills his prophecy and takes away Satyavan's life, Savitri pleads with him and eventually wins her husband back. There are extraordinary scenes showing Savitri's pleas with the god sitting astride a buffalo somewhere between heaven and earth, intercut with shots of the couple's idyllic life as Savitri tends to her blind parents-in-law. The second half narrates the legend of Sukanya, the daughter of Sharyati. Seeing a large ant-hill, and unaware that it has been built over the meditating sage Chyvana, she blinds the sage and, in return, is forced to marry him. She tends to the old and decrepit man, and he changes into a handsome youth.

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Quasi-historical adventure movie based on the exploits of the 17th C. Maratha emperor Shivaji (Bhosle). A large part of the film is shot in a cave where where Shivaji meets the Subedar of Kalyan (Bhave). The film's dramatic highlight occurs when, inspecting stolen Mughal wealth, Shivaji suddenly confronts a fair maiden (Sultana) emerging from one of the crates full of treasure.

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The story for this film was derived from the Bawla murder case. The maharaja of Holkar fell in love with a dancing girl named Mumtaz (Moti) who spurned his advances because she loved another man. In fact, the maharaja had the man kidnapped in full public view and killed.

The merchant Chand Sadagar is a faithful devotee of Chandi, and Manasa attempts to attract him. Rejected by him, Manasa condemns his son, Lakhindar, to perish on the night of his marriage to the beautiful Béhula.

This big-budget film depicts a famous episode from the 'Mahabharata', starting with Narada's ascent of Mount Meru. It shows Swarga, the Heaven of Indra, the Transformation in the Clouds of the Four Gods into impersonations of King Nala, Swan Messengers of Love, the Transformation of Kali (the Demon of Evil) into a Serpent, the Meeting of Kali and Dwapor and the Four Gods amidst the Blue Air.

A love-triangle story revolving around an upper-class Bengali hero. Satyendra, the son of a zamindar, experiences the conflict between family duty and the modern world in terms of his desire for an 11-year-old virgin bride, Radharani, and the nurturing and self-sacrificing courtesan Bijli. It depicts several stereotypical scenes like drunkenness and a courtesan's dance.

This film claimed realist intent, mainly for its thinly veiled allusions to a major scandal in Bombay known as the Champsi-Haridas murder case.

A moralistic social film in a contemporary setting. The plot concerns a young woman, Sarojini, who, under the influence of her jailbird cousin Jairam swindles her aged husband and ruins her lover, the next door neighbor Thakurdas.

A lighting fast horse, a pair of magic sandals, and a mystical stick aid an adventurous young lady (Zebunissa).

Indian horror movie from 1929.

Chandrakumar, the son of a wealthy man in Thiruvananthapuram, is abducted and taken to Sri Lanka, where he works as a labourer in an estate. Things change when his distant relative visits Sri Lanka.

A portrait of an Indian saint

Indian horror movie from 1925.

A historical romance set in the Mughal Empire. A potter's son falls for the foundling girl he was raised alongside, unaware she carries royal blood. When slavers abduct her and sell her into the household of a Mughal prince, he follows her to the imperial court at Agra — risking his life to reach her, in a story that imagines the origins of the Taj Mahal.

Maanbhanjan explores the complexities of love, obsession, and identity. The story follows a neglected wife who finds solace and empowerment through the transformative world of theater. As she navigates the complexities of her marriage and the allure of the stage, she challenges societal norms and redefines her own destiny.

Bicharak is a powerful film that explores the complexities of fate, judgment, and redemption. Through the lives of a tragic woman and a morally conflicted judge, the film delves into the depths of human nature and the consequences of societal prejudice.

The story addresses the conflict between reformist enlightenment and obsolete, inhuman ritual, questioning the contemporary validity of traditional rituals. The dramatic pivot is the conflict between the king who banned animal sacrifice, and the priest who calls for the king's own blood. Emotionally, the film revolves around the childless queen and a beggar girl whose pet goat has been taken for the sacrifice and who loves a servant in the temple.

Millionarie Ratanlal is an old man without an heir. He marries the rich, Western-educated Mohini. He has two managers, the sincere and faithful Dhairyadhar and the Anglicised crook Manhar. Mohini, bored with her marriage, falls in love with Manhar who embezzles Rs. 50,000 from Ratanlal's office and frames Dhairyadhar for the crime, who is imprisoned. Mohini's affair with Manhar develops and they decide to eliminate old man Ratanlal...

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This film is about a poor painter named Chandrakant (Khalil) who is about to commit suicide when he meets the film star Manjiri (Sulochana). He is creatively rejuvenated by the fantasies she inspires. Manjiri's modeling sessions are used to narrate her biography: her mother was a prostitute with a heart of gold who made sure her daughter was well educated. Chandrakant and Manjiri fall in love, but he is already married and his vampish, ill-tempered wife will not set him free.

Indian horror movie from 1926.

Lord Lytton takes up the post of Governor of Bengal.

The story follows a kind princess, facing danger from an evil prince, while a brave warrior helps her and they fell in love, but face unknown dangers.