atching him perform was to find the quietest, most peaceful bubble in a swirling universe full of noise and chaos: in such conditions, Shakeel’s super power was being Still. His gaze would slip unblinkingly into the abyss; a cigarette turned into a stick of ash between his forgotten fingers; and his brow furled gently with thoughts unknown. Shakeel was a master of conveying everything while exposing nothing, and he drew us in effortlessly. He was a planet emitting the strongest yet gentlest magmatic pull – his audiences were merely gilded butterflies that floated to him without thought.

Much to the sorrow of his fans world-wide, Shakeel (born Yousaf Kamal, in Bhopal, Undivided Subcontinent), whose massive acting talent mesmerized audiences in Pakistan and beyond, bid farewell to his earthly home on June 29, 2023. He was 78.

Shakeel’s particular strength was being a ‘Writer’s Actor’ - a kind of performer whose talent is constant but it blooms especially with specific writers. For Shakeel the two playwrights who come to mind are the (late) Hasina Moin and Anwar Maqsood: we cannot help but marvel at his magnificent turns in several works inked by them, mostly appearing on Pakistan Television.

Watching him perform was to find the quietest, most peaceful bubble in a swirling universe full of noise and chaos: in such conditions, Shakeel’s super power was being Still. His gaze would slip unblinkingly into the abyss; a cigarette turned into a stick of ash between his forgotten fingers; and his brow furled gently with thoughts unknown. Shakeel was a master of conveying everything while exposing nothing, and he drew us in effortlessly.

Moin’s Taimur Ahmad in Ankahi (1982) introduced Shakeel as a rigid and hot-tempered character whom we all loved to hate, and yet whose emotional evolution through the episodes stole our hearts, and found us secretly cheering for him. While Moin’s sketch laid the playground for the ultimately tragic character, it was Shakeel’s talent that devised the games that resulted in a superlative performance.

Maqsood’s Aangan Tehra (1984) brought Shakeel out for a satirical spin as Mehboob Ahmed. Maqsood’s sharp wit is not an easy weapon to wield – yet in Shakeel’s brilliant command, it hammered every observation home with conviction.

We as the audience unconsciously found ourselves in Mehboob Ahmed’s corner, rooting for him. Maqsood’s writing found a great counterpart in Shakeel’s acting.

As a lover of television plays, our nation has received many gifts.

Shakeel was an outstanding presence in our treasure trove of talent. We are richer to have known his smoldering spark on our screens.

Farewell, Taimur Sahib! Goodbye, Mehboob Ahmed! You will be remembered fondly.