The wealthy, self-obsessed, and possibly crazed Manoj (Barua) is sent by his concerned family to the rural estate of his future father-in-law. Along the way, however, he gets lost and soon finds himself taking shelter in the abode of the railroad stationmaster whose beautiful, down-to-earth daughter, Meena (Kenan Devi), Manoj finds irresistible. When his haughty, progressive-minded fiancée gets wind of this, she freaks out and soon there is a showdown between the two women. In the aftermath, Manoj finds reason to go with his heart and marry Meena.
Manas (Ganguly in the role which had made him a stage star) and Niharika (Kanan Devi) pretend to be married
Manoj is from the aristocratic class but has some sort retrograde amnesia; he belongs to the upper-class but is also an outsider, something that enables the possibilities of movement across the class-lines for him. This trope is essential for Barua to articulate the criticism of the indolent upper class in the film. Thus Manoj is both an object of criticism and ridicule while also being one of the critics.
A 1935 Bengali Film directed by Jyotish Bandyopadhyay.