M.S. Sathya

Krishna refuses to accept Kamini's love for him. But when Kamini dies and her ghost possesses Krishna, his wife, Gayatri, tries to save him from this situation.

Badavara Bandhu is a 1976 Indian Kannada language drama film directed by Vijay. It stars Rajkumar and Jayamala. The movie is also notable for the negative character played by K. S. Ashwath.The movie saw a theatrical run of 25 weeks and was declared a Blockbuster at the box office.

Professor Nataraj, a historian, unearths some invaluable secrets of the past. Rekha, his daughter, seeks the help of Mohan, to save his findings from notorious criminals.

The movie is based on the play Saahukaara written by B. P. Dhuttharagi. The film was a musical blockbuster with all the tracks composed by G. K. Venkatesh considered evergreen hits. Rajkumar became popular as a playback singer with the track Yaare Koogadali from the film which became an instant hit among the audiences. He would then go on to sing regularly for his films. The film was remade in Telugu in 1975 as Thota Ramudu starring Chalam, in Tamil in 1975 as Pudhu Vellam starring Sivakumar and in Malayalam in 1976 as Themmadi Velappan starring Prem Nazir.

Vasantha Lakshmi is a 1978 Indian Kannada-language film, directed by A. V. Seshagiri Rao and produced by K. Vittala Kumar, K. V. Honnappa and K. V. Gurunath. The film stars Srinath, Vishnuvardhan, Aarathi, and Manjula. The film has musical score by Vijaya Bhaskar. The movie is a remake of the 1974 Tamil movie Engamma Sapatham.

Geetha is in quest of finding a suitor. Just when she believes that she has found her perfect match, a stalker tries to convince her that he was her lover in their previous birth.

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.

A corrupt landlord secretly smuggles gold as the police get desperate to find the culprit. However, the landlord is unaware that someone close to him is planning to expose his criminal activities.

Murali, an honest police officer, is falsely charged in a murder case and sentenced to death. However, things take a turn when three students race against time to prove his innocence.

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.

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?

Maga Mommaga is a 1974 Indian Kannada-language film, directed by Y. R. Swamy and produced by R. Panduranga Naidu and D. R. Raghavendra Naidu. The film stars Dwarakish, K. S. Ashwath, Vajramuni and Balakrishna in the lead roles. The film has musical score by M. Ranga Rao.

A boy gets separated from his parents and grows up to become a thief. When he finds his parents and tries to return to them, his father who is a police officer refuses to accept him.

A naive young woman falls prey to a sinister plan and is trafficked. However, while planning her escape, she falls in love with a kind man.

Hosilu Mettida Hennu is a 1976 Indian Kannada-language film, directed by V. T. Thyagarajan and produced by T. H. Rama Murthy