TheMuslim social is afilm genre inHindi cinema that focuses on the depiction ofIslamic culture and traditions in India. It flourished in the 1950s and 1960s and lasted till the early 1980s. These films are characterised by the use ofghazals,qawwalis,Urdu poetry, and other musical forms associated withIslamic cultural heritage.[1]
The genre is broadly categorised into two types: "classic Muslim socials," which explorenawabi culture and the lives of upper-class or elite Muslim families, and "new wave Muslim socials," which highlight the experiences of middle-class Muslim families, addressing themes such as economic challenges, social discrimination, andcommunal violence.[2] The term "Muslim social" has been a subject of criticism for its potential to marginalise and compartmentalise films centered on Islamic culture. FilmmakerM. S. Sathyu, director ofGarm Hava (1973), questioned the use of such labels, noting the absence of equivalent terms like "Hindu social" or "Christian social" in cinema.[3] On the other hand Nadira Khatun, an associate profess at XIM University, thinks that Muslim Social genre is simply "a subsection of the broader genre ‘The Social’, wherein films showcase everyday household narratives and romantic tales".[4]
The earliest Muslim socials were made in the 1930s after the advent ofsound and continued to be popular until the 1980s. The genre's popularity was partly due to the financial success ofMehboob Khan'sNajma (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.[5][6]
Based on the life ofMughal Emperor,Jahangir,Pukar (1939) made bySohrab Modi, known for his historicals, is the first notable film in this genre.[7] Soon Hindi cinema based inMumbai became the hub for Muslim socials, and it employed a large number of Muslim producers, director, screenwriters, music directors, lyricists and actors,[7] most notablyMehboob Khan,K. A. Abbas,Kamal Amrohi,Abrar Alvi,Abdul Rashid Kardar,Saadat Hassan Manto,Ismat Chugtai,Ghulam Haider,Khayyam,Sahir Ludhianvi,Majrooh Sultanpuri,Shakeel Badayuni,Mohammed Rafi,Talat Mahmood,Shamshad Begum.[8] Numerous films were made about the Mughals, includingHumayun (1945) byMehboob Khan,Shahjehan (1946) byAbdul Rashid Kardar,Taj Mahal (1963) by M. Sadiq, andJahan Ara (1964), however the pinnacle of this royalty theme wasMughal-e-Azam (1960) byK. Asif, aboutAkbar, his sonPrince Salim (later known as Jahangir), and the courtesanAnarkali, who itself became the theme of other films, likeAnarkali (1953).[7] Another popular theme of the period was centered on the nawabi culture, especially the culture ofAwadh, present dayLucknow, it produced films marked by elaborate production, music and highlighting the sophistication of language and lifestyle, likeMirza Ghalib (1954),Chaudhvin Ka Chand (1960),Mere Mehboob (1963),Dil Hi To Hai (1963) andPakeezah (1972) byKamal Amrohi, starringMeena Kumari, which spent over a decade in making.[8][9]
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 akotha of a courtesan or a nawab stricken with poverty. One exception wasUmrao Jaan (1981) directed byMuzaffar Ali based on 1905 historical novelUmrao Jaan Ada byMirza Hadi Ruswa.
Musical romances were also prepared in this genre which includedH. S. Rawail'sMere Mehboob (1963),Mehboob Ki Mehndi (1971) andLaila Majnu (1976).[10] More over reflecting on the changing times, themes shifted regal to middle classNorth Indian Muslims, and from mainstream Bollywood toparallel cinema or the new wave cinema, starting withDastak (1970),Garm Hava (1973),Bazaar (1982) andNikaah (1982). Besides that Ali madeAnjuman (1986), andSaeed Akhtar Mirza madeSalim Langde Pe Mat Ro (1989) andNaseem (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.[6][7][9]
The genre resurfaced in works of the screenwriterKhalid Mohammed,Mammo (1994),Sardari Begum (1996),Fiza (2000) andZubeidaa (2001), Mohammed directedFiza, while the rest were directed by art film masterShyam Benegal, Benegal had previously directed, andJunoon (1978) set in theIndian Rebellion of 1857, stories with marked political content.[8] Among recent movies, it is often wondered,[11] shouldGangs 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.
Classic Muslim socials[edit]
New wave Muslim socials[edit]
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muslim social film.
