Ajoy Bhattacharya

Mahakabi Kalidas

A naive Sanskrit poet, shunned for falling in love with a low-caste Indian woman, faces challenges after entering into a competition with a princess.

Mayer Pran

A 1941 Bengali Drama Film directed by Pramathesh Barua.

Uttarayan

A 1941 Bengali film directed by Pramathesh Barua; the film was remade in 1963.

Shapmukti

A lonely girl faces several odds in society after her mother's death. Later, she gets attracted to a witty man, who decides to marry her.

Baradidi

Suren, prevented by his family from pursuing a university career, leaves home and becomes a tutor to Pramila. He falls in love with her widowed elder sister Madhavi who, although returning his love, has him sacked to save the situation.

Abhigyan

A wife rejected by her in-laws following her abduction is given shelter by the husband's friend. The storyline follows the wife's ambivalent feelings for her savior when she's accepted back into the family.

Mukti

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.

Grihadaha

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.