Master Vinayak emerged from the culturally influential Kolhapur film scene that shaped early Marathi cinema. He began as an actor, later shifted into direction and production, and became known for his ability to blend social themes with entertainment in a period when Indian cinema was still solidifying narrative conventions. Although his life was short, his contribution was recognised partly for advancing women in cinema and supporting younger talent who would become important later.
| Год | Название | Роль | Тип |
|---|---|---|---|
| 1997 | Nammoora Mandara Hoove | Фильм | |
| 1939 | ब्रान्द्य कि बोतल | Bagaram | Фильм |
| 1938 | ब्रह्मचारी | Audumbar | Фильм |
| 1937 | धर्मवीर | Фильм | |
| 1936 | Chhaya | Prakash | Фильм |
| 1935 | Nigah-e-Nafrat | Sanjeev | Фильм |
| 1935 | Bhikharan | Kumar | Фильм |
| 1935 | विलासी ईश्वर | Sanjeev | Фильм |
| 1934 | आकाशवाणी | Vasudev | Фильм |
| 1933 | सिंहगड | Фильм | |
| 1933 | सैरंध्री | King Virat | Фильм |
| 1932 | Ayodhyecha Raja | Rohidas | Фильм |
| 1932 | अग्निकंकण | Rajkumar Sudhirchandra | Фильм |
| Год | Название | Работа | Тип |
|---|---|---|---|
| 1945 | Badi Maa | Режиссёр | Фильм |
| 1939 | ब्रान्द्य कि बोतल | Режиссёр | Фильм |
| 1938 | ब्रह्मचारी | Режиссёр | Фильм |
| 1937 | धर्मवीर | Режиссёр | Фильм |
| 1936 | Chhaya | Режиссёр | Фильм |
| 1935 | Nigah-e-Nafrat | Режиссёр | Фильм |
| 1935 | विलासी ईश्वर | Режиссёр | Фильм |