Vimala is a 1960 Indian Telugu-language film produced and directed by S. M. Sriramulu Naidu under Pakshiraja Studios banner. The film stars N. T. Rama Rao and Savitri, with the latter playing the title role of Vimala. The music is composed by S. M. Subbaiah Naidu. The story is an adaptation of Karunkuyil Kunrathu Kolai by T. S. D. Sami.But it is loosely based on The English novel 'The Daughter of the Condemned' by Frank Barrett. The film's Tamil version Maragatham starring Sivaji Ganesan and Padmini produced under the same banner was released a year earlier.

During the time of British Empire, Prince Vijaya Kumar was under a tour and clutched by dacoit Ugra Simha. Vimala, a plucky protects and shelters him when the two fall in love. However, Vimala's father Anantayya opposes it when Vijay backs. Here Vimala seeks the cause behind and he spins rearward. Indeed, Anantayya is Rajeswara Prasad, the sibling of Anathagiri's ruler who is incriminated under the allegation of the homicide of his brother. Anyhow, he breaks the bars and flees with his daughter Vimala and her mother Rajyalakshmi is still living in the motherland. After that, due to some conflict with Ugra Simha, both father and daughter get detached and reach Ananthagiri. Presently it is ruled by Appalaraya Bahadur, an eccentric and a puppet for sidekick Venkatappaiah and a Butler. Vimala meets her mother Rajyalakshmi unbeknownst and joins as a maid. Plus, she is surprised to view Vijay as her maternal uncle and he is also delighted to know her identity. Now, they determine to prove Rajeswara Prasad's non-guilty. So, Vijay in disguise joins as a cook by the name of Gopalam, and attempts to break out the murder mystery with Rajeswara Prasad & Vimala. At last, the real culprits Appalaraya Bahadur, Venkatappaiah, and the Butler are caught and found guilty of their criminal offense. Finally, the movie ends on a happy note with the reunion of the family and the marriage of Vijay & Vimala.

Music composed by S. M. Subbaiah Naidu. Lyrics were written by Muddu Krishna.^[1]

The Indian Express wrote, "The director has made capital use of Savithri in the first half of the picture to keep the spell of glamour aglow and the last stages are prolonged by a series of comic diversions".^[2]