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In this new phase of Bengali cinema, film narratives began to change from its earlier studio socials. A new kind of social consciousness considering the family relationships in new urban socio-economy, couple formation and sexuality in urban context appeared as major subject and formulated a new kind of melodrama. Gradually, star persona began to dominate the film text. But Aurora interestingly avoided the mainstream film practice. They neither continued the earlier socials, nor fully shifted in star furnished melodramas. Rather they preferred to exercise with other genres like mythological, devotional and biographical. Being a senior film enterprise, Aurora took it a task to convey traditional values through their film text. In fact, Aurora always looked for a parallel existence in the film industry from its inception down through the ages. This attitude gradually inspired Aurora to involve with parallel cinema later.

A) Production

1. Khelaghar, Bodhodoy & Chutir Dine (1951).

It was a package of three children films. Initially Aurora produced Khelaghar. But the film was too short to release independently. So Aurora produced another two short films named Bodhodoy and Chutir Dine and released as a package, according to a review of 'Hindustan Standard' dated 30.06.1951, " A delightful package of juvenile entertainment." 
Khelaghar, written and directed by Soumeyn Mukherjee, was in many ways a remarkable attempt at film fantasy of the juvenile brand in which a young and poor orphaned thing is surprised one night into his unfulfilled dream surrounding a toy shop come true and visualizes toys of animals and human beings assume the shape and throb of life, climaxed by a trip across the starry sky to the moon.(Amrita Bazar Patrika, 01.07.1951). Bodhodoy was a three reeler comedy written and directed by Niranjan Pal, which bring home the moral that work and play should not be mixed together to the detriment of both. Chutir Dine was a nice travelogue in two reels which takes the audience on a sight-seeing tour of the Calcutta Zoological Gardens.(Hindustan Standard, 30.06.1951).
This package, mainly Khelaghar, was highly praised while reviewed in every magazine like, 'Roop O Katha', 'Basumati', 'Jugantar' and so on. 'Ananda Bazar Patrika' claimed (02.07.1951) for exemption of tax due to the educational value of those films. But the films did not run good as 'Bhagnadoot' magazine mourned in its film review (20.07.1951).

2. Prahlad (1952).

Initially it was designed as a seven-reeler children film to release with Khelaghar. But finally Aurora decided to make 'Prahlad' a full-length feature film, as the production cost was almost same and released independently. The film was furnished with nine songs of 'kirtan' style. 
In a review on 26.01.1952, 'Amrita Bazar Patrika' wrote: "This mythological film depicting the inspiring story of the unshakable devotion and faith of the boy Prahlad to Lord Krishna and defied death largely dipped in the sacred pond of devotion and had been treated by director Phani Barma in an essay and simple way, divested of any straining oversubtle dramatic spinning out of situations so that it can bring its lessons home straight to the hearts of the big multitudes devotionally inclined." Most of the newspapers reviewed Prahlad as an average film. 'Hindustan Standard' wrote (26.01.1952): "The producers have filmized those (mythological) accounts in a manner that will appeal more to the common mass of picture goers than audience of a more higher level."
But the film ran well. From the station ledger it is found that, in next twenty years (up to 05. 11.1973), the film returned a total amount of Rs.2,28,607.26p., almost four times more of its production cost.

3. Muskil Asaan (1953).

The film was based on a social subject. Having a higher expectation, Aurora distributed eight prints at its first release. But the film flopped severely.

4. Joydev (1954).

After doing experiment on three different genres, now Aurora was interested to produce a devotional film Joydev, based on the life of the renowned poet whom was devoted to Lord Krishna. Having twenty-one songs, this film was highly praised for its musical values and got a very good popularity too. As station ledger indicates, at first release, the film ran continuous 56 days in 'Sree' (North Calcutta) and 49 days each in 'Basushree' (South Calcutta) and 'Bina' (Central Calcutta) cinema hall. Not only this urban impact, but also this film was popular in the rural areas like at a cinema hall in 'Bakura' district (35 days), at 'Naihati' (North 24 Pargana dist.) cinema hall (21 days) and even after one year at 'Nawadeep' (Nadia dist.) cinema hall (33 days).

5. Raikamal (1955).

This film was an exercise of making fusion with different genres like musical, social and to some extends devotional. The dominating note of the story was of course one of romance. But in the film, it was depicted as a conflict between physical love and eternity of an adolescent girl under the cultural circumference of Baishnav community, a specific caste of Hindu religion devoted to Lord Krishna. 
This film was a successful adaptation of the popular novel by Tarashankar Bandopadhyay, as 'Amrita Bazar Patrika' titled their review: "Raikamal, a literary gem filmed with fine charm." They started with, " Among current releases of Bengali films in Calcutta, the picture - or it is a poem? - which come first and foremost to my mind is 'Raikamal' a more than two hour pleasant dream in celluloid." The characterization of the central protagonist was appreciated almost in every review. 'Hindustan Standard' wrote: "Raikamal is like a full blown lotus; it has a beauty that pleases the eye, fragrance that fills the heart, and, above all, everything in it seems real - a rare attribute in a world of make believe!" 'Amrita Bazar Patrika' also added: "It require extraordinary courage on the part of a director to trust a newcomer with such a complex role as that of its heroine who literally appears in every scene." The film was furnished with twenty-seven devotional songs, mainly of 'Kirtan' style. 'Janasevak' magazine praised those songs, but according to 'Ananda Bazar Patrika', it was a monotonous experience as all those songs were sung by the same person. 
Though it was a story of rural life, yet the film was more accepted in the urban audience. At first release, the film ran continuous 66 days in 'Darpana' (North Calcutta) and also in 'Purna' (South Calcutta) cinema hall whereas in rural areas it ran maximum one or two week. In 1956, 'Raikamal' was selected for Berlin film festival. It was the first Indian feature film that was televisoned in foreign, on 27th June1956 at Berlin Television. This film was also selected for Manila film festival.

6. Parisodh (1955).

This film, written and directed by Pemendra Mitra, was another flop attempt of Aurora. 'Basumati' magazine (06.05.1955) reviewed that, the film had immense possibilities to be a good one, but unfortunately the film was flopped due to its treatment. 'Ananda Bazar Patrika' analyzed (06.05.1955) that, having a good story, an experienced director, efficient technicians, renowned performers, the film failed to make convincing due to its weak screenplay, wearisome progression of narrative and improper dramatization. 'Jugantar patrika' suggested (13.05.1955) the audience to imagine more than the film offered to see. But 'Hindustan Standard' criticized (06.05.1955) the most: "The title is deceptive. For if it implies the repayment of a debt, there is no indication of its nature, or to whom it is owing and by whom. Some may even explain the title as the repayment by picture goers of a debt which perhaps they owe unknowingly to Aurora Film Corporation. Such an interpretation would not be wrong either, because paying for this picture at the box office would be no pleasure unless it is some repayment of some past debt."

7. Mahanisha (1955).

After 'Parisodh', Aurora produced another film, Mahanisha, in the same year. But unfortunately this film also failed to get audience. 

8. Harishchandra (!957).

After two big failures, once again Aurora chose a mythological subject for its next film. But interestingly, the film preferred to portray the character of Harishchandra with a moral of humanity through a straightforward dramatization of the narrative rather than to emphasize its mythic elements. 'Cine Advance' reviewed (07.06.1957): "Of the many mythological films shown in recent times, Harishchandra should prove more than agreeable because of its comprehensive get-up. It is perhaps impossible to imagine a mythological without its usual harvest of trick camera shots. But the producers here has taken care not to present the audience with too many trick shots which give the film an air of magic show. So we can enjoy the film as a moving human drama where a king desperately tries to stick to his words"
This film ran well only in 'Sree' cinema hall (North Calcutta), continuous 56 days, whereas in other cinema halls both, in urban and rural areas, the film did an average business.

9. Jalsaghar (1958).

Based on two short stories named 'Raybari' and 'Jalsaghar', this film was scripted and directed by Satyajit Ray. Meanwhile Aurora distributed Ray's 'Pather Panchali' and 'Aparajito'. Like those earlier films, 'Jalsaghar' also got high praise, mainly the directorial work. 'Hindustan standard' (17.10.1958) wrote: "In artistic achievement this latest film from Satyajit Ray is a definite landmark in Indian movie history and reveals a new facet of its director's creative genius….Jalsaghar is mainly a director's picture and it bristles with his creative touches." 'Amrita Bazar Patrika' also added (17.10.1958): "To asses his directorial capacity judged from Jalsaghar the critic is apt to be confused where and how to begin. There is such a maturity of realization of every detail of tragic human life writ large on every foot of his picture that it once again Satyajit Roy from the bulk of his class…. Splendid is the word that only partially describes Satyajit Roy in Tarashankar's fine study of decayed aristocracy in Jalsaghar."