(Also known as The Unexpected.) The predicament of women trapped in outdated social conventions was very much an issue in India in the 1930s. In Duniya Na Mane, V. Shantaram once again creates a compelling drama out of one woman's rebellion and its reverberations on those around her. In a culture in which marriage is considered a fulfillment in itself, to be unhappily married is better than not to be married at all. Duniya Na Mane concerns a young girl whose family tricks her into marriage with an aged widower whom she meets for the first time at the altar. Refusing to consummate the marriage, she remains in his household, where she has friends, but she never relents. When the old man realizes his mistake, he frees her in the only way he can, but in such a society, what does the future hold for a young widow? With this enigmatic conclusion, the surprising humor woven into a seemingly grim theme, and above all the basic humanity of all of the participants in this drama of predestined neuroses, Duniya Na Mane remains as fresh and thought-provoking as the films of the New Indian Cinema which would emerge thirty years later.