‘Meri awaaz hi pehchaan hai’

The Indian poet Gulzar might have penned the verse for the likes of Talat Hussain— people who have been bestowed with a voice that is hard to forget. When it is recalled or replayed, it offers a bittersweet experience that emanates from a twofold echo: of the voice itself, and of the unique experience it embeds in our memory.

When Haseena Moin’s classic serial play The Castle – Aik Umeed (2001) opens, the camera moves along a breathtakingly beautiful road that leads towards Wedderburn Castle, the castle that served as the setting for the 2001 PTV serial by Elysee Productions. Talat Hussain’s voice overlaps the movement of the camera, and the lines are poured into our ears as if from the mouth of an adept storyteller.

How can one not be captivated from the very first moment of the play as its titular setting is unveiled by a voice so deep and striking? I would have preferred to immerse myself in the complete play through this captivating narration itself, rather than watching a diverse array of actors perform.

It’s no surprise that Talat Hussain was a central figure in the Scottish-Pakistani productions that dominated Pakistan Television from the late 1990s to the early 2000s. Who better to provide voice-overs that captured the mesmerizing landscapes of Scotland while delivering captivating narrations crafted by renowned writers like Haseena Moin? From Aansoo (2000), the pioneering production in this genre, to Maa (2004), the final installment aired on PTV before the transition to private channels, Hussain’s presence was unmistakable. It wasn’t just his voice that captivated audiences; it was the charisma of his personality combined with his extraordinary and incomparable acting skills. Whether he was embodying an aging surgeon or an underground gangster, his performances left an indelible mark, highlighting his remarkable versatility and unparalleled talent. However, these performances occurred relatively late in Hussain’s career as Elysee Productions¹ was established in the late 1990s. It’s noteworthy that Talat Hussain was caste in plays produced by them.

His exceptional skill as a performer is exemplified by his portrayal of a negative character in the 1976 serial Parchaiyaan, which was inspired by Henry James’s The Portrait of a Lady. Hussain immersed himself so deeply in the role of a greedy man that he became the target of public outrage— he was even attacked on the streets of Karachi by viewers who struggled to distinguish between his character and his true self. The actor was accompanied by phenomenal contemporaries like Shakeel, Sahira Kazmi and Rahat Kazmi² in this project.  Around the same time, Hussain did another memorable role along-side Khalida Riyasat in a serial titled Bandish, which is always mentioned when it comes to listing the actor’s unforgettable performances.

Talat Hussain Warsi was born on September 18, 1940 in Delhi. His father, Altaf Hussain Warsi held multiple jobs. In India, his father was associated with the civil services and when the family migrated to Pakistan, one of his most important jobs was as a trainer at PIA training school; but a wrong injection brought Altaf Hussain Warsi to crutches for his entire life, forcing him to spend a major portion of his life at home. Talat Hussain’s mother, Shaista Begum, known as Hayat un Nisa before marriage, worked for All India Radio. After migration, she became one of the first announcers of Pakistan Radio. The transmission would begin with her show at 6:30 in the morning. Talat Hussain’s own career began in the 1960s. Within a decade he rose to prominence as both a film actor and a radio artist.

His journey in radio started while he was still a student at Islamia College, where he honed his skills under the mentorship of Qamar Jamil, a prominent producer at Pakistan Radio. Notably, he ventured into this field despite his family’s reservations; they were initially against his pursuit of an artistic career. When Talat Hussain auditioned for the radio, his mother implored the producer to make sure her son would fail (in order for him to pursue a stable career in bureaucracy). The producer, however, had unwavering faith in Talat’s talent and conveyed that the only thing that could prevent him from succeeding was if he failed to arrive at the audition venue. To the dismay of Talat’s family, and to his own delight, he did make it on time, ultimately forging a successful career in radio and beyond. Three of his memorable plays as a radio artist include Rooh Ka Chakkar, Salma Baji and Raahein, and in most of his radio plays, he is known to have been accompanied by the veteran Pakistani actresses, Sajida Sayyad, Humaira Naeem and Talat Siddiqui. A solo play of his, in which he single-handedly set the stage on fire was called Lighthouse Ke Muhaafiz , a dramatic radio play remembered for being based on the life a man who looks after a lighthouse.

During that time, Talat Hussain made his film debut in Chiragh Jalta Raha, sharing the screen with renowned actors Muhammad Ali, Deeba, and Zeba. He went on to establish a remarkable career in cinema, frequently collaborating with some of the industry’s greatest stars, including Waheed Muraad and Nadeem Baig. It’s worth noting that Nadeem was not only a talented co-star but also a childhood friend of Talat Hussain. When it comes to films, Talat Hussain’s contributions are not limited to Pakistan alone. The Indian film Souten Ki Beti (1989), the Turkish movie Malkoçolu Ölüm Fedaileri (1971), the British-Pakistani movie Jinnah (1998) and the Norwegian film Import-Eksport (2005) are amongst his international projects, with the last two having won him critical acclaim. Hussain even garnered the prestigious Amanda Award for Import-Eksport, He was recognized for his remarkable dedication to mastering the Norwegian language for the film.

The 1970s were a transformative decade for Talat Hussain, characterized by his transition to television drama, including the popular series Bandish and Parchaiyaan. This period also saw him marry Rakshanda Rehman and gain admission to the prestigious Royal Academy of Dramatic Arts in London in 1972. However, due to the high costs of his education and the institution’s restriction on holding a job, Hussain decided to transfer to the London Academy of Music and Dramatic Arts (LAMDA). Demonstrating prodigious talent, he completed a three-year program in just 18 months, earning a gold medal for his outstanding performance. His wife, Dr Rakshanda Hussain, recalls that while his classmates were often engaged in exercises deemed necessary by their instructors, Hussain’s advanced skills rendered many of these tasks unnecessary for him, highlighting his exceptional expertise in the field. Consequently, he secured several BBC projects, including notable titles like Northern Crescent, Traffik, British Empire, The Gangsters, and A Mind to Kill. Additionally, he has worked on Pakistani productions that not only required exceptional acting skills but also a nuanced mastery of dialogue delivery.

His theatrical pursuits continued to flourish concurrently, showcasing his remarkable versatility as an artist. It is truly impressive how he seamlessly balanced the demands of radio, television, film, and live theatre without becoming overwhelmed by the technical complexities of each medium. Some of his notable theatrical works include Raz o Niaz, Khalid Ki Khala, Jo Chalay Tou Jaan Se Guzar Gaye, and Habib Mamu, to name a few. These plays, while celebrated within his local stage performances, highlight his profound talent and commitment to the craft. At the Royal National Theatre in UK, he performed a play titled A River Sutra, and another successful play called Comedians at Nottingham Playhouse³, the latter known for having run for three consecutive months. Performing at so many platforms won him the Pride of Performance⁴ award in 1982, the decade also characterized by his appearance as a lawyer in the Indian film mentioned earlier (Souten Ki Beti), a film which boasted of super-stars like Rekha and Jeetendra.

Pakistan Television made a significant mark in the 1990s, renowned for its production of socio-political dramas, it produced two exceptional serial plays, Kashkol and Hawayen, both featuring veteran Talat Hussain. Hawayen boasted an impressive cast that included Ghazala Kaifi, Qazi Wajid, Huma Nawab, and Komal Rizvi, yet it was Hussain’s portrayal of a poor man unjustly accused of murder that truly resonated, representing the plight of the downtrodden community in Sindh who were at the mercy of feudal lords. The haunting imagery of Hussain behind bars and his harrowing barefoot journey to the gallows remain etched in the memories of classic Pakistani drama enthusiasts.

In the 1990s, private productions began to gain traction in the industry, continuing into the following decade. In addition to the earlier mentioned projects, several high-budget series were filmed in scenic locations such as Scotland, Dubai, Malaysia, and Mauritius. Notably, Talat Hussain was featured in these productions, showcasing his versatility as an actor. One significant project was Jaane Anjaane, filmed in Mauritius, where he portrayed a loving father. In contrast, he took on a more complex role in the Indo-Pakistani production Ana, playing an egotistical father.

When it comes to recalling Talat Hussain’s services, the 2000s are not only remembered for his dramas, but also for the numerous television commercials to which Talat Hussain lent his voice, and also for the sermons and ‘dirges’ (elegy) that would go on air on television during the month of Muharram. Anyone who grew up in the 1990s and 2000s cannot discuss the media coverage of Muharram without mentioning Talat Hussain. A prominent figure during this period, he captivated audiences every year with his poignant recounting of the tragic events of Karbala. Dressed in black, he employed his theatrical voice to evoke the sorrow and gravity that the subject inherently demands, leaving a lasting impact on those who tuned in to PTV’s Marsiya Tahtul Lafz. To contrary belief, Talat Hussain himself was sunni. Moreover, he also did a voice-over for the Urdu dubbed version of film Jesus, originally released in 1979.

In the later years of Talat Hussain’s illustrious career, his focus shifted primarily to nurturing aspiring actors rather than his own on-screen performances. While memorable dramas such as Chaand Parosa (2009), Kaun Jaane Kia Hona Hai (2009), and Mann Mayal (2016) stand out, it was his tenure at the National Academy of Performing Arts (NAPA), which he joined as a faculty member in 2012, that truly defined this phase. His students remember him as a principled yet compassionate mentor. An avid reader, Hussain was known for his engagement with world drama—translating, directing, and introducing his students to diverse narratives—while simultaneously delving into Sufism to deepen his understanding of spirituality and its intricacies. Interestingly, he initially joined NAPA in the early 2000s as a coordinator before fully embracing the role of a drama instructor.

Alongside his established contributions in radio, theatre, film, and drama, Talat Hussain ventured into new literary territories in the latter years of his life, exploring genres like short stories, prose poetry, and novels. His wife played a significant role in preserving his literary legacy, providing several short stories to NAPA, two of which—Sanduq and Taza Bastiyan—were recently dramatized by his students. It is noted that during his final days, he was working on novels, despite the challenges posed by dementia and a debilitating skin disease that affected his mobility and speech.

Ironically, dementia— which had affected him during his later years, besides other ailments¾ echoed a storyline from one of his most beloved dramas, Aansoo. Nevertheless, Talat Hussain’s legacy shines brightly, transcending his physical departure. His presence remains like an everlasting flame, reminiscent of his first film’s title, Chiragh Jalta Raha. So impactful was his voice, his grace, and his on-screen charisma that they continue to resonate with audiences, ensuring that his spirit lives on in the hearts of many.

Talat Hussain is survived by his wife, two daughters and one son, and through his seven grandchildren. His eldest daughter, Tazeen Hussain, has made a comeback on television after a long hiatus⁵ with Mohammed Ehteshamuddin’s place Yunhi⁶ (2023). She is currently working on a number of projects for television. All three of his children appeared as child stars. However, Tazeen Hussain has continued with her father’s legacy, Roohaina Hussain didn’t pursue television and Ashar Hussain ventured briefly into television through his directorial debut ‘Aisa Kuch Ker Ke Chalo’ (2010).

The insights and information presented in this piece were made possible through the exclusive contributions of Dr Rakshanda Hussain and Tazeen Hussain. We extend our heartfelt gratitude to them for their assistance.

All pictures are courtesy of Talah Hussain’s family. The video clips are courtesy of and copyrighted by Explore PTV with KS, and VCast Online respectively.

Title Image: Screen grab, Film ‘Laaj’, directed by Rauf Khalid, 2003

Disclaimer: Some images included in this article may appear blurry or of lower quality due to their age and the conditions under which they were originally captured. We have made every effort to source and present these visuals accurately in their historical context.