alat Hussain was an actor who sought his value within the character like a well-placed jewel within the design of a play. He was thus closer to the tradition of a theatre person than many others who later made their names in one-man shows. The latter was poised on the genius of ready wit, improvisation and playing by the ear than a studied well-crafted performance located in a similar production.

He, like many other actors/ performers of the time, made his talent available across all platforms: radio, television, stage advertisement, cinema and pubic shows.

His mother, too, had been associated with the radio. Thus the medium was not unfamiliar to him. He had accompanied her to the studios and in the process got to know many of the radio artistes first hand, especially those who belonged to Karachi and Hyderabad.

When he was criticised for performing in an Indian film Sauten Ki Beti, his answer was simple. It was not to display his immense talent, or to be appreciated for his acceptability by a bigger entertainment industry or for getting Indian acknowledgment, but only because he needed the money. His mother was ill then and he could not afford the best medical treatment for her. He opted for a project that helped him make a little extra cash to help his mother meet the medical expenses.

This was the essence of Talat Hussain; he was low-key. Humility was a part of his makeup. He never ever boasted about himself. No situation made him overstate his case. There was much room to brag as far as his person was concerned. For many decades, he worked in teleplays, stage plays and films making a sizeable impact with a great deal of consistency than most people have done.

Like many earlier actors, his initial exposure was to the radio. He learned the art of speech and that correct pronunciation did not get compromised with the individuality of the character one was playing. The first lesson served him well as indeed many others who were senior to him and his contemporaries to transition into groundbreaking television plays. He was able to strike a balance between the emphasis on the spoken word and its visual expression on screen.

His foray into the drama schools of the West helped him polish his talent and his understanding of the mediums and the best way to exploit the ever expanding technological potential but he retained the low-key approach, avoiding over playing, overacting and overstating. He was the epitome of poise and grace that became the grit on which he built his interpretation of a character. In those days, it was rare for a Pakistani to be enrolled in such schools. He benefitted hugely by its teaching and the association with the peers at the London Academy of Music and the Dramatic Arts.

He was the epitome of poise and grace that became the grit on which he built his interpretation of a character. In those days, it was rare for a Pakistani to be enrolled in such schools. He benefitted hugely by its teaching and the association with the peers at the London Academy of Music and the Dramatic Arts.

Not that this limited his range or made him type-cast. It was always his own take on interpreting a character. The individuality of an actor’s idiosyncrasies or his strengths can limit his range. Talat resisted this. His interpretation of a role was studied and well thought out. He did not rely on spontaneity or improvisation.

His stage roles are not much talked about because theatre in Pakistan is small and its audience is much smaller than television and cinema. But many still consider that the true test of performance lies on stage rather than the other mediums. Talat Hussain in Rafi Reerzada’s Raaz-o-Niaz was very good because he placed the role within his own strength and refused to be tempted by devices that were foreign to him. He also directed and acted in many adaptations of famous classics and added value to the meaning of theatre experience.

Talat Hussain worked in several foreign films, television serials and long plays, including the Channel Four serial Traffic and Family Pride. As mentioned, he also worked in the Indian film Sauten Ki Beti and made a guest appearance in Jinnah.

In the 1960s, it was very rare for a non-white actor to make an appearance, let alone a name in the theatre/ film world of the West. Zia Mohyeddin was probably the first one to make a breakthrough. He was followed by the likes of Saeed Jaffery from India but by the middle 1970s and ’80s with the opening of networks like Channel Four and a growing South Asian diaspora the diversity of role and techniques of dramaturgy and acting became more acceptable and many from across the world started figuring on the screens and stages of the haloed West. It must be said that those from Pakistan who got the opportunity did not disappoint and came up to the standards ones monopolised by a section of the world. Talat Hussain was one much person. He acquitted himself well in the plays on television that were a cross between our production ethos and that of the West, This cross over was essential because it put a stop to the two developing in individual compartments. The learning helped the performing arts and show business to be more inclusive. When Zia Mohyeddin set up the National Academy of Performing Arts in Karachi, Talat joined the faculty to pass on his immense knowledge to the younger generation wanting to be thespians. It was close to his heart because acting was the creative outcome of rehearsals and not the sparkle of an instantly ignited talent.

He won many awards including in 2006, the Amanda Award for the Best Supporting Role in Norwegian film Import-Export, the Presidential Medal for the Pride of Performance and the Sitara-i-Imtiaz.

The writer is a culture critic based in Lahore.