Dr. Rajkumar

Shabdavedi is about Sandeep Rajkumar, a strict police officer crusading against narcotics. The man is so straight that when his wife Jaya Prada refuses to reveal the identity of a key link in the drug ring that he is investigating. He beats her in lockup. Eventually he overcomes all the usual attempts to throw him off the chase like tarnishing his reputation and implicating him in lock-up death cases and tracks the ring down to its last man.

Range Forest Officer Kumar's son is posted in the same forest and must carry on the work that was started by his father and protect the heritage site.

Ramachandra Rao, a professor, is forced to marry Gowri at his family's behest despite being in love with Lalitha. He fails to get along with his wife and broods about his lost love. The movie is based on the novel of the same name by Vani. The film is considered as one of the greatest romantic films in Kannada noted for the strong performances of lead actors Rajkumar and Kalpana.

Kula Gourava is a 1971 Indian Kannada language romantic drama film directed by Peketi Sivaram and written by G. Balasubramanyam. It stars Rajkumar in triple roles along with Jayanthi and Bharathi. The film was produced under Sri Eswari Productions of N. Veeraswamy. It had a very successful soundtrack composed by T. G. Lingappa. Popular actor-director V. Ravichandran, son of the film producer Veerasamy, appeared in the film as a child artist. The film swept 5 awards at the 1970-71 Karnataka State Film Awards including the best film, best actor, and best editor categories.

At his detective wife's request, a young man joins a boxing club to find out about the illegal activities carried out by the head of the establishment.

Parashuram is a private detective who leads a content life with his family. However, everything changes when he encounters MD, a crime lord who gets impressed with him and wants to hire him.

Kranthiveera is a 1972 Indian Kannada-language action drama film directed and produced by R. Ramamurthy. It stars Rajkumar, Rajesh and Jayanthi. The film's story was written by R. Rangarajan and Satyam was the soundtrack and score composer. The dialogues and lyrics were written by Chi. Udaya Shankar. The song Elli harikatha prasangavo had P. B. Sreenivas and Rajkumar playback singing together for the first time.

Raj and his wife are thrown out of the house by their children. Raj works very hard and becomes rich. His children, for the love of money, welcome him home. Will he go back to stay with them?

Bengaluru Mail is a 1968 Indian Kannada-language mystery thriller film directed by L. S. Narayana and produced by Y. V. Rao. The film stars Rajkumar, Narasimharaju and Jayanthi. The movie is a remake of the 1967 Malayalam movie Cochin Express, which was also subsequently remade in Telugu as Circar Express, in Tamil as Neelagiri Express and in Hindi as The Train.

Mahishasura Mardini is a 1959 Indian Kannada-language film, directed and produced by B. S. Ranga. The film stars Rajkumar, V. Nagayya, Udaykumar and Narasimharaju. It was dubbed in seven other languages and is retrospectively identified as amongst the first major Pan-India films.

Sathi Shakthi is a 1963 Indian Kannada-language film directed and produced by Kanagal Prabhakar Shastry. The film stars Rajkumar, Ramkumar, K. S. Ashwath and B. Raghavendra Rao. The film has musical score by T. G. Lingappa. Puttanna Kanagal assisted his brother during the shoot of this movie. This was the first movie in which Rajkumar played a dual role in full-fledged manner

Due to her mother's disapproval, Usha has to leave her lover and get married to a man she does not love. However, fate brings the estranged lovers face to face again. The film is based on the short story Naanu Neenu Jodi by A. R. Anand.

It is a Hindu mythological film directed by Vijay, and based on the tale of Prahalada. The film stars Rajkumar, Saritha, Puneeth Rajkumar and Ananth Nag. The soundtrack was composed by T. G. Lingappa. The film won State Film Awards in Sound recording and cinematography categories. This was the fourth Kannada film on Prahlada after the 1942 film Bhakta Prahlada, the 1958 film Bhakta Prahlada and the 1960 film Dashavathara. Of the four films, this was the only one which was not shot in black and white. This movie was dubbed in Telugu as Narasimhaavataaram.

When forest officer Kumar protects natural resources from poachers, their boss, Anand, becomes his main rival. But little does Kumar know that Anand is his brother.

The plot of the movie is based on the popular novel The Prince and the Pauper by Mark Twain. Puneeth Rajkumar played a double role in the movie and till 2020 remains his only double-role movie in which both the characters appear together on-screen.

Sri Krishna Rukmini Satyabhama is a 1971 Kannada-language Hindu mythological film written and directed by K. S. L. Swamy under his home banner Raghunandan movies. The film stars Rajkumar, B. Saroja Devi, Aarathi and Bharathi. The music was composed by R. Sudarshanam.

Kasidre Kailasa is a 1971 Indian Kannada-language film directed and produced by K. Janakiram. The film stars Rajkumar, Udaykumar, Vanisri and Pandari Bai. The film has musical score by Satyam.

Chengumani is commander-in-chief in the 18th-century Coorg region of present-day Karnataka. He becomes the king's commander-in-chief after saving his life, but his life gets complicated when he falls in love with Poovi and marries her in disguise. The movie was dubbed in Telugu as Prachanda Bheri. This was also Rajkumar's first cinemascope movie.

Vasantha, an ordinary insurance agent, and Geetha, an arrogant woman, get married after fighting initially. However, the ensuing marital issues due to class differences soon drive them apart.

Babhruvahana, like Arjuna at the beginning of the Kurukshetra war, faces a moral dilemma. Can he risk harming his parents? While Chitarangada alerts Arjuna to shoot an arrow at their son and take advantage of Babhruvahana’s momentary lapse due to a sense of devotion towards them (as Arjuna did with Karna), Uluci, the Naga princess and yet another abandoned wife of Arjuna’s, reminds Babhruvahana of the teaching of the Kurukshetra battle that in the battlefield there is no space for feelings even towards parents. What Babhruvahana must do is to establish his mother’s good name and thereby his own character. This film captures this conflict spectacularly. The eerie parallels with the moral dilemmas of the great Mahabharata battle aside, here all the familial relationships (in particular, strong mothers and dutiful sons) become exaggerated and demand our attention.