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Sahira Kazmi

I have seen Teesra Kinara many a time. I’ve seen parchhanyan once. And if you were a young boy growing up in late ‘70s and early ‘80s you couldn’t help falling for Sahira Kazmi.

That tall damsel, always elegantly dressed, with a silky, thick crop of hair flowing down her well sculptured shoulders, and a gait that always brimmed with self-assuredness,

not to mention the wheezy, raspy voice, Sahira would turn you into a couch potato, perpetually hooked to the idiot box. And she wasn’t a bad actress either.

Although Sahira had appeared in a couple of serials and play lets prior to Teesra Kinara, but it was TK, written by her then hubby-to-be Rahat, that really catapulted her to fame.

The play was produced from Lahore a Television center. What further endorsed her reliable acting abilities was the serial she did from Karachi Television Centre, Parcchanyan.

In early ‘80s, penned but none other than Haseena Moin and with a stellar cast that included her husband Rahat and Talat Hussain. A lot of people believe that acting was in Sahira’s genes, for her father, late Shayam was a renowned supporting actor of the Indian film industry.

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However, Sahira was never entirely at ease with acting. Her authoritative disposition may have been one of the reasons. Hence the transformation from an actor to a person behind the camera with director written in glowing letters on her P cap. Once she assumed the role of a director, her on-screen performance. Her

progress was swift and impressive. And these days, Sahira Kazmi is one those PTV producers that have done the organization extremely proud.

Her directional career for television began with 25-minute music shows. As she went along with that, she was able to produce and direct memorable hits like a duet HUMA HUMA, sung by M.ALI Shehki and Allan Faqir (Late)

Sahira’s social awareness and strong aesthetic sensibilities couldn’t confine her to just coming up with shows, that had melody and rhythms. She soon graduates to helming dramas serials and long plays.

As a result, what came out was a string of exceedingly successful projects that have now become inalienable part of TV’s glorious history.

One of Sahira’s serials, Aahat needs special mention. Not many people in Pakistan have endeavored to chum out a TV play on as sensitive an issue as family planning.

Then Nijjat’s subject matter was no less ordinary. Tapish was an effort with strong political connotation. And long-play Rozi, albeit amateurishly acted out, was a profound comment on the grave issues of unemployment and nepotism.

The reason that Sahira was consistent in coming up with critically acclaimed and commercially successful TV projects was her uncompromising nature. She is those who were her uncompromising nature. She is those who know her intimately say a perfectionist.

Sahira’s creative journey is still on. Zaib UN Nisa is a proof of it, and we know, there are many more to come.

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