prithviraj kapoor all films

This film presented a fictionalized biography of its maker. One of the major characters is a producer modeled on Kohinoor's proprietor, D.N. Sampat, including a reference to the real life occasion when the studio, on the verge of bankruptcy, survived only because its employees donated money and gold ornaments to keep it afloat. Another character referred to a financier at the Imperial Studio. The plot also touched on the way a producer can curtail the freedom of a director.

A period fantasy that told of the ageing king of Kamarpur, and his two rival queens, Navbahar and Dilbahar, and their rivalry when a fakir predicts that Navbahar will bear the king's heir. Dilbahar unsuccessfully tries to seduce the army chief Adil (Vithal) and vengefully destroys his family, leaving his daughter Alam Ara (Zubeida) to be raised by nomads. Eventually, Alam Ara's nomad friends invade the palace, expose Dilbahar's schemes, release Adil from the dungeon and she marries the prince of the realm.

This big-budget Mahabharata adaptation starts with Duryodhana's (Jagdish) scheme to appropriate the kingdom of Hastinapur by eliminating his Pandava cousins. When the Pandavas return from banishment with Draupadi (Ermeline), won by Arjuna (Kapoor) in a tournament, they establish their capital, Indraprastha. The films shows the Rajasuya Yagna ceremony and culminates in the famous dice game in which Duryodhan, backed by his scheming Uncle Shakuni (Hadi), wins the Pandavas' kingdom and then Draupadi herself, whom Yudhishthira (Elizer) then wagers and loses. Duryodhan commands that Draupadi be stripped naked in open court but Krishna (Khalil) saves her honour with a miracle.

Bug-budget saint film on the life of Meera (Chandrabati Devi/Khote), a princess of the Rajput kingdom of Chittor married to the king of Mewad (Bannerjee/Kapoor). She is persecuted by her husband and her brother-in-law when she abandons worldly possessions to become a devotee of Krishna. She undertakes a journey of penance and performs a miracle which the king attributes to the machinations of the evil army chief Abhiram.

Mansoor (K. L. Saigal) is a dacoit who falls in love with Husn Pari (Husn Banu), the sister of the evil caliph. His escapades bring him notoriety and Mansoor moves to a new place where he stays as a guest at the merchant Ali's house. Ali and his family have no knowledge of Mansoor's past.

A drama set amid an earthquake in Bihar. Miss Renee (Khote) looks after the victims while her lover, the businessman Sardar (Mohanned), wants to make money from the disaster. She comes under the spell of the blind itinerant Musafir (Dey in his usual persona) whose low opinion of the depravity of the wealthy provides the film's moral backbone. She eventually discovers that as a child she had been promised to Musafir but had been rejected by his family for being of a lower caste.

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 smouldering unhappiness takes the form of a resentment towards the orphaned Mrinal, raised by Mahim's father, and receives a dramatically 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 Saratchandra's barely concealed hostility towards Achala's liberated Brhamo Samaj upbringing.

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 smouldering unhappiness takes the form of a resentment towards the orphaned Mrinal, raised by Mahim's father, and receives a dramatically 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 Saratchandra's barely concealed hostility towards Achala's liberated Brhamo Samaj upbringing.

Classic celebration of Mithila's King Shiva Singha's (Bannerjee/Kapoor) love for his wife while chronicling the influence of the pacifist court poet Bidyapati (Sanyal). Invited to the royal court by the king, Bidyapati arrives with his faithful follower Anuradha (Kanan Devi). Queen Laxmi (Chhaya Devi) falls in love with the poet, much to the distress of the king. The king falls ill and starts neglecting his royal duties until Anuradha persuades him that true love does not need reciprocation. The queen, equally distressed by her divided loyalties, contemplates suicide, encouraged by the prime minister who is worried by the nefarious impact of Bidyapati's poetry on the king. Both the king and queen sacrifice their lives before the statue of the god Vishnu who appears to weep at the tragedy.

Reformist melodrama about widow-remarriage. Jai Narain, owner of a colliery, forms a happy family with his wife, his daughter Saroj, son-in-law Kailash, an engineer at the colliery, and their son Nannha. Kailash dies in a colliery accident caused by Jai Narain. Nannha is sent to an orphanage and Saroj marries Ramesh, who loves her but is unaware of her previous marriage or of being a stepfather, while Saroj misses her dead husband and longs for her absent son. A former suitor, Ranjit appears, knowing her past history. Repeated scenes show Nannha pining for his mother.

A tenant attacks the villainous landlord Jawaharlal Choudhry, injures his son Priyalal and abducts his daughter-in-law Sandhya. Sandhya escapes unharmed to her relative, the engineer Praksh, but her father-in-law refuses to take her back, believing her to be 'damaged goods'. Sheltered by the kindly Promode, her husband eventually accepts her back although she feels torn between affection for her savior and her marital obligations.

Ashok goes to a village, mobilizes the peasants, fights the oppression of the village head-man and achieves bumper crops. Childhood friend Ajoy goes to England to study mining technology and is determined to make a success of a mining project in the rural area where Ashok is working. Each has radically different ideas about what is best for an independent nation. Ajoy's sister Protibha, who loves Ashok, secretly finances Ajoy's rural modernization endeavors. Ajoy, unaware of this, falls in love with Gauri, daughter of the social outcast Kunja. When Ajoy returns from England, he discovers that the best coal-fields lie directly beneath Ashok's land. The crisis is manifested in a drought that threatens to destroy Ashok's work and prove Ajoy's contentions right.