The film has all the makings and trimmings of a commercial thriller – a dynamic story, song and dance, an action-packed climax – and at the same time, it is a cinephile’s film.
लिहाफ़ कहानी न केवल उस समय की अनकही सच्चाई का वर्णन है बल्कि इस कहानी ने महिला यौनिकता के निषेध समझे जाने वाले विषय और विषमलैंगिक विवाह सम्बन्धों के सन्दर्भ में भी महिलाओं की यौनिक इच्छा के विषय को लोगों के सामने उजागर कर दिया।
A woman can be more than something that just exists in a marital home, a woman can be more than just a beautiful body used as a mere decoration in the household. Isn’t it high time we talked about the problems of the terminology used to define beauty and the association of it with sexuality if Chughtai tried doing this in 1941?
All these stories are examples of courage and hold great significance in the development of the Urdu story and for bringing to our notice the misery of the average Indian woman. A new era of Urdu stories has taken birth that not only acknowledges the issues of women inside and outside of house, but also openly deals with ‘immodest’ and ‘indecent’ themes such as sexuality.