In Neend Hamaari Khwaab Tumhaare, for example, where Nanda’s character-the daughter of a nawab, no less-doesn’t merely have a Western education, but spends most of her time in skirts and dresses. But that process had begun in earlier films, even as far back as the 60s. (I’ll write about all of those, and more, in a post to follow).īobby Jasoos and Daawat-e-Ishq had shed those to quite an extent.
The Muslim social of the 1950s was, more often than not, a film that, even when set amongst the wealthy upper class-the nawabs and their kin-came heavily burdened with all the stereotypical trappings of what was perceived as ‘Muslim’: the qawwalis and mushairas, the shararas and sherwanis. Both were an interesting reflection on the way the Muslim social has changed over the years (after close to disappearing during the 90s). Some months back, I watched two relatively new Muslim socials: Daawat-e-Ishq and Bobby Jasoos.
