| | 1 | '''Mojili Mumbai''' |
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| | 3 | aka The Slaves of Luxury |
| | 4 | 1925 st 8220 ft B&W |
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| | 6 | dis Manilal]oshi pc Kohinoor Film cD.D. Dabke |
| | 7 | lp Yakbal, Raja Sandow, Jamna, Ganibabu, Moti, Noor Mohammed, Baby Saraswati |
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| | 10 | Joshi's best-known film and, withBismi Sadi (1924), the most successful attempt to locate the narrative in the present day. Presented as a comment on the lifestyle of Bombay's rich, the film tells of the wealthy Mr Nanavati (Sandow) who is attracted to a dancer, Roshanara (Yakbal) who in turn is represented by a Dalal (agent or, more precisely, pimp) named Chhotalal (Noor Mohammed). Chhotalal plans to rob Nanavati and seizes his chance when the rich man buys a gold necklace as a present for his daughter's birthday. Chhotalal tempts Nanavati to visit Roshanara, who then seduces him and obtains the necklace. When Nanavati realises that he has been duped, he accuses |
| | 11 | Chhotalal, who has by then switched the necklace for a fake. The film led to a debate in the pages of the journal Be-Ghadt Mouj about questions of morality and realism in film between Shaida, the editor and himself a scenarist, and Joshi. Joshi claimed that he |
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| | 14 | [[Film]] |