conflict of conscience within him. Not only did he do justice to the
sharp script penned by Younus Jawed, but the mannerisms that Fakhri
adopted (pulling his pants up every time he left the police station or
reprimanding his sub-ordinates haughtily, were a treat to watch.
episode in Andhera Ujala in which Jaffar Husain suffers a personal loss
and his perspective on life undergoes a sea-change. It’s a brilliant
portrayal of an official trying to come to terms with the duplicity that
exists in his department as well as with the conflict within his
took part in many television plays and played all kinds of characters.
His effort in Aik Haqeeqat Aik Fasana, cameo appearances in the iconic
comedy series Alif Noon, meaningful roles in Waris and Pyas are some of
the finest examples of acting on Pakistani television.
director with whom Jamil Fakhri worked quite a bit is Ayub Khawar.
Talking about the late actor he said, “Fakhri was an extremely jovial
person. He’d arrive on the set and turn into a laugh factory. He was
full of life. And once he’s on the set and camera started shooting him,
he would become a different person altogether. He gave many variations
to his characters. I still remember a play that he did for me titled
Jalianwala Bagh which we produced on the occasion of 50-year
celebrations of Pakistan’s inception. He was too good in it. Then his
performance in Hisaar in which he did the part of a book-binder, whom
his own affluent family members look down upon was brilliant.”
Fakhri also branched out into films. When his friend Irfan Khoosat made
Direct Hawaldar, he was with him. The film did a roaring business. A
couple of other memorable movies were Dahleez and Mehrban. He was an
actor who was original in his approach to acting, or as many of his
colleagues would say, he was in a league of his own.
Fakhri had also worked in a number of theatre plays, both commercial and
parallel, and earned critical and commercial acclaim. He was a through
and through Lahorite, someone who took pride in being from the old