Delhi Durbar Dawns
Dignitaries including the Nizam of Hyderabad gather to celebrate the Durbar in honour of George V, who arrives by boat in Bombay.
Filmed in 1938, less than a decade before Indian independence, Delhi has a curious tale to tell. ‘Delhi’, the viewer is informed, ‘is the cockpit of the Indian Empire’, it provides the ‘gateway to the riches of the south’. The opening sections of the film focus upon those who have tried and failed to establish a lasting power in the capital. ‘At Delhi’, the commentator states, ‘successive cities have been built by conquering invaders – each has fallen into disuse and decay’. The camerawork focuses on the ‘impressive ruins’ of these earlier invaders. Although the film also depicts the enduring architecture of Muslim rulers, such as Akbar and Shahjahan, it is stressed that their power has been superseded. Legend has it that it will be the ninth city of Delhi that ‘will endure and will rule forever’. Shahjahan had built the eighth.
Dignitaries including the Nizam of Hyderabad gather to celebrate the Durbar in honour of George V, who arrives by boat in Bombay.
The future Edward VIII opens a durbar and enjoys a day at the races before inspecting the fire brigade in Calcutta.
Amateur film featuring government buildings in Delhi, a shooting party in Malakand and winter in Abbottabad.
Scenes from a lavish pageant held during the royal visit to India, celebrating King George V’s coronation.
A film produced to celebrate the coronation of George V as King-Emperor at the Imperial Durbar of 1911.
The future Edward VIII enjoys a stately procession and visits the Taj Mahal before meeting senior Indian royalty.
Grand buildings and missionary work come together in the 1947 Indian tour of construction magnate John W. Laing.
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Attractive travelogue filmed in and around Delhi's Qutb complex.
Rare stencil-coloured images of early 20th century Delhi during a Muslim festival.
King George V and Queen Mary hold ceremonial court in Delhi.
Film showing the Viceregal party entering Delhi on lavishly decorated elephants, as part of the Coronation durbar of 1903.
By drawing a parallel between the Indian Durga Puja festival and other forms of celebrating the divine feminine, Santa Shakti reveals the Sacred Power beyond languages and religions.
The encounters of two people who run into each other on several occasions under circumstances ranging from friendly to hostile to loving. Along many years and countless run-ins, the two despise each other, befriend each other, and fall in love with each other—in no particular order.
As the romantic monsoon rains loom, the extended Verma family reunites from around the globe for a last-minute arranged marriage in New Delhi. This film traces five intersecting stories, each navigating different aspects of love as they cross boundaries of class, continent and morality.
Jasper has arrived in Delhi to begin a tour of India, where the newness of his surroundings quickly prove overwhelming. As he is drawn into the dynamics of his host family, the Bhatias, he finds that his mere presence has upset the natural order of things. Jasper finds that the first day of his journey is possibly more than he bargained for.
A man and a woman come from two very different cultural backgrounds, and decide that they won't get married until they convince their parents. As feared, differences between the families pose a hurdle.
Years after his father disowns his adopted brother for marrying a woman of lower social standing, a young man goes on a mission to reunite his family.
Kabir, a genius yet hostile medical student, falls in love with Preeti from his college. When Preeti's father spots the couple kissing, he opposes their relationship and decides to marry her off.
Rajputana, India, 13th century. The tyrannical usurper Alauddin Khilji, sultan of Delhi, becomes obsessed with Queen Padmavati, wife of King Ratan Singh of Mewar, and goes to great lengths to satisfy his greed for her.