
Acting
Chandramohan (1905–1949) was one of the most compelling and charismatic actors of early Indian cinema, known for his piercing eyes, expressive intensity, and command over dialogue delivery. Born in Narayangaon, Maharashtra, he began his film career with Amrit Manthan (1934), directed by V. Shantaram, where his performance as a scheming high priest instantly established him as a powerful screen presence. His aristocratic features and theatrical background made him a natural fit for historical and mythological roles. He became a mainstay in major productions throughout the 1930s and 40s, notably in Pukar (1939), where he played Emperor Jehangir with a complex blend of authority and humanity. Chandramohan was often cast in morally ambiguous or villainous roles, yet he brought a rare psychological depth to each character—whether as a tortured prince, a tyrant, or a tragic antihero. His performances in Roti (1942), Humayun (1945), and Shaheed (1948) are especially remembered for their theatrical elegance and emotional resonance. Despite his immense talent, Chandramohan’s life was marred by personal struggles, including alcoholism, which led to his untimely death at the age of 44. He left behind a relatively small but deeply influential body of work, and is still regarded as one of the finest character actors of his era—one whose dramatic flair and intense gaze left an indelible mark on early Indian cinema.

Faced with extreme patriarchal laws in an ancient seaport kingdom and denied the legal custody of her infant son, a young woman becomes a pirate declaring war on the state's tyrannical minister of justice.

The film follows Humayun’s rise to the throne, his struggles to maintain the empire, and his conflicts with rivals—especially Sher Shah Suri, who defeats him and forces him into exile. Amid political upheaval and personal loss, the story also explores Humayun’s relationships, particularly with his noble wife Hamida Banu. Eventually, with Persian support, he regains his empire, but his triumph is short-lived, as his reign ends with a fatal accident.

A love affair and two feuding families who play out a Romeo and Juliet type drama in 17th century India, under the Emperor Jehangir.

This classic opens with a sensational low-angle circular track movement as Chandika cult followers meet in a dungeon of flickering lights and deep shadow. As the more rationalist King Krantivarma (Varde) banned human or animal sacrifices from the increasingly fanatical festivals dedicated to the goddess, the cult's high priest (Chandramohan/Date) orders the hapless Vishwagupta (Kelkar) to kill the king.

Following a passionate encounter with King Dushyanta (Chandramohan), the comely Shakuntala (Jayashree) finds herself pregnant and rejected by the royal court. She gives birth in a forest to a son which she names Bharat (Kumar Ganesh). When the King tracks his former lover down and tries to take her back, she flatly refuses him.

Mumtaz Mahal tells the story of Shah Jahan and his wife Mumtaz Mahal, tracing their deep love, her death during childbirth, and his grief that leads him to build the Taj Mahal in her memory.

Gyan leaves his wife Shobha in the care of his friend Rasik while he travels abroad. In his absence, Shobha and Rasik fall in love and have a child, Indira. Years later, unaware of the truth, Gyan returns and unknowingly arranges Indira’s marriage to Rasik’s son—her half-brother—setting the stage for a dramatic and morally complex revelation.
Shankar abandons his religious wife Durga and takes their son Mohan into a life of crime. Years later, Durga raises her second son Kumar to be virtuous. When Mohan is arrested, he ends up being prosecuted by Kumar—his own brother—leading to a dramatic family reckoning and Mohan’s path to redemption.

Yusuf moves to Bombay with his wife to prove himself but gets entangled with a glamorous woman, putting his marriage and values to the test.

Sant Eknath, a 16th-century poet-saint who challenges caste discrimination by serving and dining with the untouchables. His actions provoke outrage from orthodox Brahmins, leading to his excommunication. Despite opposition, Eknath stands firm in his belief in equality and devotion, inspiring others to join his cause and defending his principles through his spiritual teachings.
