Doroshkechi exemplifies a popular yet finely crafted type of Iranian cinema: Iranian pre-revolutionary comedies. Filmmaker, writer and star Nosrat Karimi, who had worked for Vittorio De Sica, turned a real-life story into an intricate work which shows a masterful use of elements from pink neorealism, filmfarsi (Iranian popular cinema) as well as Czechoslovakian cinema; the latter, thanks to Karimi's education in Prague. He offers a sharp, though good-hearted, critique of Iranian society – using its prejudices and biases regarding namus (the virtue of the female members of the family) as a basis for comedy, and poking fun at rituals such as burials, marriage and circumcision ceremonies.