7.6 Exploring shared Hindi-Urdu culture

More on Urdu and its script

While there isn’t a separate writing practice worksheet for the letters introduced here (since they comprise letters you already know with the addition of just one dot), this is a great time to dive into the resources on the history of Hindi-Urdu listed in the introduction, or to explore the linguistic history of Hindi and Urdu through a resource such as UT Austin’s Urdu Vocabulary: A Guided Tour. For something a little lighter explore a website like rekhta.org, a free resource where you can enjoy great literature and performances as you learn more about Hindi and Urdu’s shared literary culture; you can explore the website in Devanāgarī for even more practice.

Hindi and Urdu in Conversation

For an illustration of the similarities and differences between Hindi and Urdu, explore the essay and video by Rose Miyatsu about the Hindi/Urdu program at the University of Washington; read here and watch the video below.

Urdu and Bollywood

Urdu langauge and literature have left an undeniably strong imprint on Hindi cinema. Urdu poets and writers such as Jan Nisar Akhtar, Javed Akhtar, Upendranath Ashk, Kaifi Azmi, Shakeel Badayuni, Rajinder Singh Bedi, Sardar Ali Jafri, Sahir Ludhyanvi, Saadat Hasan Manto, Gulzar, Akhtar ul Iman, Makhdoom Mohiuddin, Majrooh Sultanpuri, and many more have written countless screenplays, song lyrics, and dialogues. Immerse yourself in this shared culture with the films suggested below:

Anjuman (dir. Muzaffar Ali, 1986): Set in Lucknow’s chikan embroidery industry, this film sensitively portrays the lives of working-class women and their exploitation in the textile industry. Its Urdu dialogues and songs reflect the poetic resilience of its characters and the cultural richness of the region.

Bazaar (dir. Sagar Sarhadi, 1982): A poignant drama set in Hyderabad, Bazaar critiques the practice of arranged marriages for financial gain. Urdu ghazals underscore the emotional depth and social critique embedded in the narrative, while giving the unique flavor of Dakkani (Hyderabadi) Urdu.

Chaudhvin Ka Chand (dir. Mohammed Sadiq, 1960): A romantic tale set in Lucknow and starring real life star-crossed lovers Guru Dutt and Waheeda Rahman, this film is a meditation on the power of seeing and beeing seen. Its nawabi^[1] setting, elaborate costumes, and use of elements like kathak and Urdu poetry make it a classic of the “Muslim social” film genre.

Dedh Ishqiya (dir. Abhishek Chaubey, 2014): A dark comedy and thriller, this film is both steeped in and a parody of nawabi culture. Two small-time gangsters disguise themselves as nawabs to try to seduce a wealthy widow, unwittingly falling into a kidnapping plot.

Firaaq (dir. Nandita Das, 2008): Set in the aftermath of the 2002 Gujarat communal riots^[2], this film explores communal trauma through deeply poetic and introspective dialogues. Urdu is used to express grief, longing, and reconciliation.

Ghalib (dir. Sohrab Modi, 1954): A biopic of the legendary Urdu poet Mirza Ghalib, this film captures his philosophical depth, personal struggles, and timeless poetry during the decline of the Mughal Empire.

Haider (dir. Vishal Bhardwaj, 2014): An adaptation of Shakespeare’s Hamlet, set in conflict-ridden Kashmir. The film incorporates powerful Urdu poetry and philosophical monologues, including the haunting poem “Main,” narrated by Irrfan Khan.

In Custody (dir. Ismail Merchant, 1993): Based on Anita Desai’s novel, this film follows a Hindi professor’s attempt to preserve the legacy of a fading Urdu poet. It is a quiet meditation on language, memory, and cultural loss.

Majaz: A Life in Poetry (dir. Huma Khalil, Mustajabuddin Malik, Sandeep Kartar Singh, 2023): A biopic of Asrar ul Haq Majaz, the “romantic revolutionary” of Urdu poetry. Told through the eyes of a modern-day scholar, the film explores Majaz’s poetic brilliance, personal struggles, and his advocacy for women’s empowerment.

Masaan (dir. Neeraj Ghaywan, 2015): Set in Varanasi, this film explores caste, grief, and redemption. It features Urdu poetry by Akbar Allahabadi, Mirza Ghalib, Bashir Badr, Brij Narayan Chakbast, and others, adding emotional depth and cultural resonance to the narrative.

Meenaxi: A Tale of Three Cities (dir. M.F. Husain, 2004): A visually rich and experimental film that follows a writer’s muse across Hyderabad, Prague, and Jaisalmer. Featuring Urdu poetry by Gulzar, it celebrates imagination and lyrical storytelling.

Manto (dir. Nandita Das, 2018): A biopic of Saadat Hasan Manto, one of Urdu’s most provocative writers. Set during the haunting and traumatic events of Partition, the film explores his fearless storytelling, battles with censorship, and empathy for the marginalized.

Mughal-e-Azam (dir. K. Asif, 1960): A historical epic dramatizing the legendary love between Mughal Prince Salim and courtesan Anarkali. The most famous of many adaptations of Imtiaz Ali Taj’s play Anarkali, its poetic dialogues, classical music, and visual grandeur reflect the sophistication of Mughal court culture.

Pakeezah (dir. Kamal Amrohi, 1972): A romantic tale of a courtesan seeking dignity and love and “tragedy queen” Meena Kumari’s iconic last film. The film’s Urdu ghazals, kathak dance, and symbolic imagery evoke the emotional depth and cultural refinement of Lucknow’s artistic traditions.

Shatranj ke Khilari (dir. Satyajit Ray, 1978): An adaptation of a short story by Munshi Premchand, one of the founders of the genre in Hindi/Urdu, the film uses humor and tragedy to explore the end days of Lucknavi court culture on the brink of the 1857 War of Independence.

Umrao Jaan (dir. Muzaffar Ali, 1981): Based on Mirza Hadi Ruswa’s Urdu novel, this film follows the life of a poetess and courtesan in 19th-century Lucknow. It beautifully captures themes of art, gender, and societal constraints against the background of classical Lucknavi culture. Actress Rekha, a native Tamil speaker, lived in Old Lucknow for months to master the language and mannerisms she imbues in her performance of the title character.