Muslim social

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The Muslim social is a

Garam Hava (1973), called it "a skewed way to look at cinema. When there is no Hindu social or Christian social, how can there be a Muslim social".[3]

History

The earliest Muslim socials were made in the 1930s after the advent of sound and continued to be popular until the 1980s. The genre's popularity was partly due to the financial success of Mehboob Khan's Najma (1943), which became the blueprint for Muslim socials that followed, which too delved on social issues around Muslim families, no matter what the setting, giving the genre its title.[4][5]

Based on the life of

Prince Salim (later known as Jahangir), and the courtesan Anarkali, who itself became the theme of other films, like Anarkali (1953).[6] Another popular theme of the period was centered on the nawabi culture, especially the culture of Awadh, present day Lucknow, it produced films marked by elaborate production, music and highlighting the sophistication of language and lifestyle, like Mirza Ghalib (1954), Chaudhvin Ka Chand (1960), Mere Mehboob (1963), Dil Hi To Hai (1963) and Pakeezah (1972) by Kamal Amrohi, starring Meena Kumari, which spent over a decade in making.[7][8]

Thereafter the films in this genre shifted from regal that of fading Nawabi culture - Bahu Begum (1967). After experiencing its height in the 1970s, the genre descended to being a mere stereotypical and kitschy representation complete a kotha of a courtesan or a nawab stricken with poverty. One exception was Umrao Jaan (1981) directed by Muzaffar Ali based on 1905 historical novel Umrao Jaan Ada by Mirza Hadi Ruswa.

Musical romances were also prepared in this genre which included

Nikaah (1982). Besides that Ali made Anjuman (1986), and Saeed Akhtar Mirza made Salim Langde Pe Mat Ro (1989) and Naseem (1995). Gradually the genre lost both nuanced depiction of its hey days was imitated by the cinema many Muslim countries, and audiences as well, and few notable additions were made to this genre, and too sporadic.[5][6][8]

The genre resurfaced in works of the screenwriter

Khalid Mohammed, Mammo (1994), Sardari Begum (1996), Fiza (2000) and Zubeidaa (2001), Mohammed directed Fiza, while the rest were directed by art film master Shyam Benegal, Benegal had previously directed, and Junoon (1978) set in the Indian Rebellion of 1857, stories with marked political content.[7] Among recent movies, it is often wondered,[10] should Gangs of Wasseypur
(2012) be added to this glorious list of "Muslim Social" Genre, which may also be considered reflective of the current politico-social milieu of Muslims in India.

Examples

References

  1. ISBN 978-81-89487-53-9
    .
  2. ISBN 81-208-1453-3
    . Retrieved 17 March 2010.
  3. ^ "Back with the wind". The Hindu. 14 November 2014. Retrieved 14 November 2014.
  4. ISBN 1-86189-220-9
    . Retrieved 17 March 2010.
  5. ^ a b Nirupama Dutt (22 January 2005). "Muslim Mystique in Indian films". The Tribune. Retrieved 21 May 2013.
  6. ^ a b c d Ruthven, 189
  7. ^ a b c "Ghararas To Guns-From The Muslim Social To The Muslim Political". Cine Blitz. December 2012. Archived from the original on 30 January 2013. Retrieved 22 May 2013.
  8. ^ a b Gulzar, p. 241
  9. ^ Subhash K. Jha (24 September 2004). "H.S. Rawail: Death of a faded giant". Sify. Archived from the original on 27 May 2014. Retrieved 5 October 2013.
  10. ^ R. M. Vijayakar (26 August 2012). "'Muslim Socials' Add to the Rich Palette of Hindi Films". Indiawest.com. Retrieved 25 January 2020.

Bibliography

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