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I think it should be easy to say that whatever your religion or faith one grows up in or chooses, they are part of the country they are born in and which they themselves feels they belong to.īack to the movie. And mind you, there is no ‘Christian Social’ or ‘Buddhist Social’ or ‘Sikh Social’ genre that is named anywhere. Personally, as much as the categorizing a whole genre of film with Muslim protagonists feels to me a bit sour, considering it is then othering the Muslims within India in a certain group with films made for them and the Arabic countries overseas, but not anywhere else – thus limiting their reach abroad – rather than accepting that they are a part of Indian cinema. This is also a what is called a ‘Muslim Social’, a genre of film that emerged in India, which has all the characters be Muslims and is wholly concentrated on their societal problems, which are also, in essence, universal problems, but given the Muslim setting.
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Chopra isn’t shy about that this is a woman’s picture above all, even if she is in the survivor in this case, but it was the 80s so I can let it slide. It is made clear from the first as we see watercolour paintings of women from myth, history and real trials they go through. This movie is all about women, their trials and her choices inside the social Patriarchy structures that are around her. Haider and Nilofar start to spend time with one another, they marry, but everything changes when Wasim comes back into the picture, asking for forgiveness. The two begin talking and Nilofar tells about her marriage to Wasim and how she is now divorced. Nilofar comes to the offices of her former college friend Haider. Chopra’s as well a good script and characters in a good drama with good music. It has the typical sympathetic social consciousness B.