Highest Grossing Films of 1937

This film mixes baroque period movie style with the primitivist iconography of Hollywood's biblical epics. The setting vaguely evokes an ancient Aryan society ruled by Kodandavarma (Chandramohan), a dictator committed to the ideals of Aryan justice. A stone statue of Justice collapses, threatening to crush many slaves. The situation is saved by the youthful Jeevan (Prahlad), the king of an aboriginal tribe. Jeevan then falls in love with Princess Jayanthi (Chitnis). Although mainly a romance, the film also addresses ideals of justice and morality. Its key characters include the villainous vice boss Madhuvrat (Chhotu) who plots against Kodandavarma and entraps Uttam (Ulhas), the designated heir to the throne, and the dancing girl Lata (Apte) who is forced to seduce Uttam so as to alleviate the slaves' suffering.

Based in Central India, a story about struggle of a young man belonging to Bheel (an adivasi) tribe against the exploitation of his people by stronger Maratha tribe.

In this tale of rural caste divisions, polygamy is added to the theme in this story of Uma, born in an orthodox Brahmin family. To the despair of her parents she values her friendship with low-caste potters. Especially with Ranu. When she marries Nandlal, a man from her own caste, her potter friends are happy for her - until they learn that Nandlal is taking a second wife, Padma, with Uma's consent. The problem is that Uma is thought to be infertile. Uma returns to her parents' home mainly because Nandlal is paying no attention to his new wife, and when she returns she meets Ramu again. Nandlal overhears a conversation between Ramu and Uma and, when Uma suddenly discovers that she is pregnant after all, he doubts her fidelity.

Neera is trapped into marrying an old widower Kakasaheb. Neera refuses to consummate the union claiming that while suffering can be borne, injustice cannot. Neera faces many hurdles.

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.

Bibbo is Neela and Surendra 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.

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 behaviour. He is married to the rich Chitra (Kanan Devi). The couple are in love but neither partner is prepared to compromise their ideals. The marriage falls apart. Prasanta concedes his wife's demand for a divorce and goes to the jungles of Assam, where for many years his closest associates are a wild elephant and Jharna (Menaka), the wife of an innkeeper named Pahari (P. Mullick). He also makes a sworn enemy of a local trader (Nawab/A. Mullick). Chitra marries the millionaire Bipul (Mukherjee) and they go an elephant hunt. They kill Prasanta's pet elephant. Since Chitra believes Prasanta to be dead he avoids meeting her, but is forced to rescue her from the villainous trader.. Prasanta succeeds but dies at Chitra's feet. The film interprets his death as Chitra's final achievement of the freedom she had craved. Barua contrasts the regressive story presented as static and unresolved, both as narrative and as performance, with a hyperactive environment that overwhelms the trivial nature of the lead couple's desires.

Rural crime drama featuring an exploitative landlord (Gani) and a good peasant Ramu (Nissar) who is accused of murdering the landlord. Remembered mainly for being one of India's first colour films, using the Cinecolour process imported by Imperial.

To search for his son, daughter-in-law, and grandson, a professor and his adopted daughter embark on a peril-laden mission, catching the eye of an elusive but powerful man. Can the legend of Tarzan, defender of the jungle, be true?

Unusual mythological. The love story from the 'Mahabharata', features Devika Rani as the heroine born through divine benediction to Ashwapati, and Ashok Kumar as Satyavan, son of an exiled and blinded hermit. Although Satyavan is scheduled to die soon, Savitri marries him and eventually propitiates Yama, the god of death, to return Satyavan's life and to restore her father-in-law's sight.

Two widowed sisters thwart a love match when they try to arrange marriages for their respective children.

This is a Puranic tale, which, by all accounts, was a grand mythological spectacle full of miracles and fantasy scenes with special effects. Chitnis played the god Shanker, and Suresh played the sage Narada.