The Great Talat Hussain

Talat Hussain, a legendary actor and an unparalleled talent, is no more. His passing marks the end of an era in the world of television, film and theater. My first introduction to Talat Sahib was as a devoted fan of his TV dramas during the golden era of Pakistan Television (PTV). His name in the cast was a guarantee that the serial would be a hit. Talat Hussain was synonymous with quality, and his performances in dramas such as Hawain, Kashkol, and Teesra Kinara and many more left an indelible mark on the audience.

One of my most vivid memories of watching his work was tuning into the night transmission of PTV at 3 a.m. to catch a rerun of Teesra Kinara. My brother and I would clandestinely watch TV with the volume turned low, making sure not to wake our parents. The experience was thrilling, not just because of the secrecy, but because performances by Talat Hussain, Rahat Kazmi, Sahira Kazmi, and Usman Peerzada were mesmerizing, making the late-night vigil worthwhile.

My admiration for Talat Hussain deepened during my university years. Mr. Iftikhar Shafi, one of our teachers in the English Department, introduced us to a different facet of Talat Hussain's talent. He played a recording of Hasan Kozagar, a poem by Noon Meem Rashid, recited by Talat Hussain. The clarity and emotion in his voice were spellbinding. Each word was delivered with precision, bringing the poem to life in a way that made its meanings crystal clear. It was a moment of awe and admiration, as we realized the breadth of his artistic capabilities.

My third and most profound interaction with Talat Sahib was during my audition at the National Academy of Performing Arts (NAPA). He was on the panel, along with Mr. Zia Mohyeddin and Mr. Mohsin Shirazi. Seeing him for the first time in person was an unforgettable experience. There was an aura around him, the presence was so powerful that it felt almost otherworldly. Perhaps it was my nervousness, or maybe it was the sheer magnitude of his personality, but I felt goosebumps as I stood before him.

Talat Hussain later became my teacher at NAPA, and I found him to be incredibly kind and approachable. He taught us the fundamentals of acting, such as the basic footwork required to stand on stage. His guidance was invaluable, and I learned so much from him, not just about acting but about carrying oneself with grace and confidence.

As our diploma program neared its end, our teachers decided to stage a theater play for us. They chose Habib Mamoon, an adaptation of Anton Chekhov's Uncle Vanya, directed by Mr. Zia Mohyeddin. I was involved in the lighting design for the play and had the privilege of witnessing the rehearsals. Talat Sahib played the protagonist, and watching him bring the character to life was a master class in acting. His performance was a treat to behold, filled with nuance and depth that only a seasoned actor like him could deliver.

Another memorable production was Sufaid Khoon, written by Agha Hashr and directed by Zia Mohyeddin as the inaugural production of the Repertory Theatre. Talat Sahib played the role of the King, and he was simply magnificent. During rehearsals, there were many interesting incidents, particularly involving the play's prompter, Mr. Taj Niazi. Talat Sahib was known for his dramatic pauses, which often left Taj Niazi uncertain whether to prompt him with the next line. This uncertainty led to amusing moments where if Niazi Sahib prompted him, Talat Sahib would say, "No, please! I was taking my time," and if he didn’t, Talat Hussain would ask for the cue. Despite these moments, his pauses were never empty; they were filled with meaning and emotion, a testament to his mastery of the craft.

Talat Hussain's versatility extended beyond acting. He starred in productions like Vakil Sahib, The Seagull, and Jo Chaley tu Jaan se Guzar Gaye. He also directed plays for both the Academy and the Repertory Theatre, such as A Doll’s House and Ewam Inderjeet. As a director, he was generous with his talent, often demonstrating how to perform various roles, bringing his immense experience to the benefit of his students. He also taught us the history of theatre which was one of his favourite topics. He was a voracious reader and he had a huge collection of books on theatre, acting and literature. His ability to embody different characters and his passion for teaching made him an exceptional mentor.  He had a keen insight into current affairs and religious matters.

Moreover, Talat Hussain was also a writer and an adaptor of plays. He wrote some short stories and dramatized tales by classic authors. One such project was the play Kafan, a dramatization of a short story by Munshi Premchand. His adaptation brought new life to the story, showcasing his ability to bridge the gap between literature and theater seamlessly.

I once had the privilege of riding in Talat Sahib's car, sitting next to him as he drove. During our journey, a man on a scooter recognized him. The man slowed down his scooter, approached Talat Sahib's window, and greeted him with a heartfelt "Salam." It was a simple yet profound moment that underscored his status as a true superstar. Talat Hussain's ability to connect with people, even in fleeting encounters, showcased the genuine warmth and respect he commanded from his fans.

Talat Hussain's legacy is immense. He was not just an actor but a storyteller, mentor, and artist who profoundly impacted many lives. His passing is a great loss to the performing arts, yet his contributions will continue to inspire future generations. The lessons he shared, the performances he delivered, and the stories he told are now part of our cultural heritage. We celebrate a life dedicated to storytelling, bringing depth and joy to countless audiences. His legacy will forever live in our hearts.