INDIA’S prime minister Narendra Modi and prominent musicians from India and the UK have paid tribute to Zakir Hussain, hailing the percussionist as the “king” of tabla, a one-of-akind musician, and one of the world’s most beloved artists.
Hussain, 73, passed away in a San Francisco hospital early on Monday (16), reportedly due to lung disease.
Modi said he was “deeply saddened” by Hussain’s death.
“He will be remembered as a true genius who revolutionised the world of Indian classical music.“He also brought the tabla to the global stage, captivating millions with his unparalleled rhythm. Through this, he seamlessly blended Indian classical traditions with global music, becoming an icon of cultural unity.
“His iconic performances and soulful compositions will contribute to inspire generations of musicians and music lovers alike. My heartfelt condolences to his family, friends and the music community,” the prime minister wrote on X.
With flautist Pandit Hariprasad Chaurasia in 2023
In a career spanning decades, Hussain collaborated with musical legends such as George Harrison of The Beatles, Mickey Hart of The Grateful Dead, and jazz musician John Handy.He was also a founding member of the fusion band Shakti, which he formed in 1970 with British guitarist John McLaughlin. The group won the Grammy for Best Global Music Album earlier this year for This Moment.
Born in Mumbai (then known as Bombay) in 1951 to tabla maestro Alla Rakha, Hussain began his professional career at the age of 12, accompanying Indian classical musicians.
Moving to the US in 1970, he became a global ambassador for Indian music, elevating the tabla from an accompaniment instrument to a solo art form.
Hussain often described his relationship with the tabla as deeply personal. In an interview last year, he called it a “mate, a brother, a friend,” adding, “I cannot imagine existing without it. It motivates me to get up in the morning and say, ‘hello.’”“What do I bring to the tabla? I think it is openness and clarity ... your musical statement must be created with as much clarity as possible,” Hussain was quoted as saying in a 2018 biography.As Allah Rakha’s son, Hussain said “all inclusive musical creativity” came naturally to him.
“From the age of seven or eight, I would go with him to all his recording sessions with Asha ji or Lata ji, or Rafi and be part of the orchestra,” he said, referring to the legendary Indian playback singers.
With his wife Antonia Minnecola and daughter Anisa Qureshi with sitar maestro Ravi Shankar
“He would give me a khanjari or a tambourine or a little something to play. So I grew up in this situation where being in a combination of musical creativity, which was an all inclusive process as opposed to a singular one, seemed like a natural way to go,” Hussain recalled.“So the mindset as I was growing up tuned itself to the idea that music is music, it’s not Indian music or that music, so when I actually started working with musicians who were non-Indian it seemed like a natural handshake,” he added.
Tabla had long been viewed as an accompaniment in Indian classical music.
Hussain thanked his father and his contemporaries, especially Pandit Kishan Maharaj and Samta Prasad, for bringing notice to the humble instrument.
He said it was their collaboration with Pandit Ravi Shankar, Ustad Vilayat Khan, Ustad Ali Akbar Khan, Ustad Bismillah Khan and Pandit Birju Maharaj that led to audiences appreciating that “this other guy is not so bad and is cool and things started to happen”.“That laid the foundation for the next generation of tabla players, including me, to take things forward,” Hussain added.
He worked with several Indian and international musicians, defying genres and creating masterpieces such as “Planet Drum”, a world music album with American percussionist Mickey Hart that was awarded the first-ever Grammy for Best World Music Album in 1992.Hussain also starred in films such as Merchant Ivory production Heat and Dust,The Perfect Murder and Saaz, opposite Shabana Azmi.
Shankar Mahadevan, Hussain, V Selvaganesh, and Ganesh Rajagopalan after winning the Global Music Album award for This Moment in 2024
Hussain’s Shakti bandmate McLaughlin posted a picture of himself performing with the tabla maestro on Instagram, writing, “The King, in whose hands Rhythm became Magic, has left us... RIP my dearest Zakir. We will meet again.”
In a post on Instagram, sitar player and Ravi Shankar’s daughter Anoushka Shankar said she was “just broken-hearted” and added, “He was like an uncle, he was an idol; I had the privilege of loving him up close and worshipping his musicianship at a distance.
“He was so supportive I can’t explain. At my first show at thirteen, I wanted to back out from fear of performing alongside him in front of thousands, and it was him, his advice, his reminiscing about being in the same position at a similar age, his tight focus on me as we played, that got me through it. He was utterly unique in the world of music.”
Renowned Indian flautist Hariprasad Chaurasia, who collaborated with Hussain for a number of musical projects, including 1999’s live album “Remembering Shakti”, said, “He only lived for his tabla, rhythm and melody.”
Composer and Shakti member Shankar Mahadevan said Hussain’s death was a “big loss”. “I cannot express it in words, but there never will be a musician of this calibre and the tabla is never going to sound like this,” Mahadevan added.
In an X post, American banjo player Bela Fleck said: “Very sad to lose one of the great ones…Zakir…we love you.”
Fleck, who worked with Hussain on this year’s Grammy-winning albums Pashto and As We Speak, also shared a series of pictures with him on social media.
Sarod virtuoso Ustad Amjad Ali Khan said he was speechless and heartbroken.
“Ustad Zakir Hussain was a phenomenon. He was indeed one of the most loved musicians the world saw,” he wrote on X.
Hussain was “an inspiration and a towering personality” who elevated tabla to global acclaim, said music maestro AR Rahman.
“His loss is immeasurable for all of us. I regret not being able to collaborate with him as much as we did decades ago, though we had planned an album together. You shall be missed. May his family and his countless students find the strength to bear this immense loss,” Rahman wrote on X.
The British Museum’s Ancient India: Living Traditions is among the most significant displays for Hindus, Jains, and Buddhists living in the UK.
Eastern Eye was given a tour of the exhibition by its curator, Dr Sushma Jansari, the Tabor Foundation curator of South Asia at the British Museum, and Kajal Meghani, the project curator, who has completed a PhD on the contributions of South Asian collectors to the museum.
A seated Jain enlightened teacherAshmolean Museum, University of Oxford
Highlights in the exhibition include: Ardhanarishvara, “lord who is half woman” – Shiva and Parvati combined in one deity – dated about 1790–1810; the Bimaran casket, about 1st century; Gaja-Lakshmi (“Elephant Lakshmi”), goddess of good fortune, about 1780; Ganesha made in Java from volcanic stone, about AD 1000–1200; the head of a grimacing yaksha, about second or third century; Naga, about 17th century; a sandstone figure of Ganesha from Uttar Pradesh, about AD 750; a seated Jain enlightened teacher in meditation, about AD 1150–1200; and a silk watercolour painting of the Buddha from China, about AD 701–750.
Ganesha from JavaAshmolean Museum, University of Oxford
Jansari said one of the aims of the exhibition was to connect the figures with visitors, especially practitioners of Hinduism, Jainism and Buddhism in the UK.
She said: “Most of them don’t know a great deal about Indian religions, so (this is) just to say that these might be ancient images, but they are and have always been under veneration. People do venerate them. This isn’t all about just one religious tradition. It’s about three of the indigenous religions of the subcontinent. You’ve got the Buddha, Ganesh and a Jain enlightened teacher (in close proximity).
A Chinese silk painting depicting the BuddhaAshmolean Museum, University of Oxford
“It was important for me, as a member of the South Asian diaspora, that I didn’t want to split up these traditions. I wanted very much to look at our collections and ask, what are the commonalities between Jainism, Hinduism and Buddhism.
“What are their artistic origins? Just as we live alongside each other, it was the same in the ancient past. It was even more fluid because you didn’t subscribe to just one particular religion. You would venerate at different shrines. You’d subscribe to different aspects of these different religions.”
ArdhanarishvaraAshmolean Museum, University of Oxford
She stopped at one point: “We wanted you to feel the atmosphere of ancient India. We’re in early India, maybe about the second century BCE. Most of the population live in the countryside. There are obviously some amazing cities as well, but we’re looking at the countryside.
Head of a grimacing yakshaAshmolean Museum, University of Oxford
You’re living in an agrarian society. The failure of your crops means famine, and the success of your crops means you are likely to survive another year with your family, and you will prosper. And we’re just trying to evoke that.”
In Indian mythology, a yaksha is a class of supernatural beings, often nature spirits or deities, that can be benevolent, mischievous, or even malevolent. They are frequently associated with water, fertility, trees, the forest, treasure, and wilderness. Yakshas are often depicted as guardians of places or treasures and can be found in Hindu, Jain, and Buddhist texts, as well as in temples throughout South and Southeast Asia.
“You can hear the sounds of nature,” continued Jansari. “Maybe you’re walking through a dappled forest, and then you encounter the yakshas, the yakshis and the (snake gods) nagas and the naginis. And these are some of the earliest images of deities in the subcontinent, shaped in human form, which is incredibly important, but it doesn’t mean that they’re consigned to the past. This is not ancient and long gone, like an exhibition of beautiful Greek or Roman art, but those deities are no longer under active worship. These have a long continuous life.”
NagaAshmolean Museum, University of Oxford
The yakshas and the yakshis were “not all lovely, happy figures,” said Jansari. “Actually, they need to be placated. You’ve got these grimacing yakshas here, and they’re clutching sacrificial animals.”
She pointed out a figure of “a voluptuous woman draped in jewellery. There’s lots of floral imagery. You are thinking about fecundity and plenty. But then you look a bit more closely at her hair, there are weapons emanating out. These are powerful, independent goddesses with a martial quality.”
The Bimaran casketAshmolean Museum, University of Oxford
Jansari spoke about snakes and why in many societies in India, particularly in rural parts, they tend not to be killed.
She explained: “The nagas and the naginis were independent, really powerful gods. And in a society where the monsoon is incredibly important for the success or failure of your crops, the snakes are vital. You’ve got lovely plenty of water, which means your crops are growing, which means there are more rodents and frogs. So having lots of snakes around is a really healthy sign. They were venerated. They were not killed. It was considered very bad karma to kill a snake. And even now, you still don’t kill snakes. Within nature spirits, it’s not only yakshas and yakshis and nagas and naginis it’s also animal-headed deities.” She talked about the genesis of the exhibition: “I really wanted to show the connections between this ancient religious art and nature, but also the religions themselves. There are so many similarities. There are also key differences. I wanted to make sure that this exhibition is not seen as ancient objects from abroad which have no meaning or purpose here in the UK. They absolutely do for large portions of our society. This is very much part of British culture. That’s how Belgrave Road (in Leicester) happens.”
Meghani looked at “how these faiths and the practices travelled, not just from India to the UK, but there is this weaving through East Africa and other places, and how these traditions change and are adapted to these spaces, how it allows people to maintain a sense of connection with their families and also their faith.”
The curators had consulted places of worship in the UK. They included the Buddhapadipa temple in Wimbledon, the BAPS Shri Swaminarayan Mandir in Neasden in north London, as well as the Oshwal Association of the UK in Potter’s Bar in Hertfordshire.
Meghani said: “This is one of the films we created with a community partner in Potter’s bar. Manjula Shah, who volunteers at Potter’s Bar, wakes up at the crack of dawn to get to the temple for 7 am. She’s preparing sandalwood paste, and she’ll use that in the ceremony.
“And we wanted to include sites in the UK to show how South Asians are still carrying on their veneration practices within Britain today.
” In Ancient India: Living traditions is at the British Museum until October 19, 2025.
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The image shows a stencilled lighthouse on a plain beige wall
A new artwork by Banksy has been unveiled on the artist’s official Instagram account, but the exact location of the piece remains undisclosed.
The image shows a stencilled lighthouse on a plain beige wall, accompanied by the phrase: “I want to be what you saw in me.” The piece features a cleverly drawn false shadow from a nearby bollard, creating the visual effect that the lighthouse is formed by the silhouette of the street furniture.
Despite the post, Banksy has not provided any indication of where the artwork is located. A second photograph shared on Instagram shows two people walking dogs near the piece, though it does not offer significant clues about the setting.
Speculation online has suggested that the street could be somewhere in Marseille, France, but this has not been confirmed. Another version of the image circulating online shows a blurred figure on a scooter passing the wall, which also features a tag that reads "Yaze". The same name is used by Canadian graffiti artist Marco The Polo, who has referred to Banksy as a source of inspiration.
Banksy, who has maintained anonymity throughout his career, typically confirms the authenticity of his work via his verified Instagram account. Many of his previous artworks have tackled political and social themes, including immigration, conflict, and homelessness.
In December 2024, Banksy posted another piece showing a Madonna and child, incorporating a wall fixture that resembled a bullet wound in the figure’s chest. Last summer, he also released a series featuring animals across different locations in London, though their meaning was not explicitly stated.
The new lighthouse piece has sparked widespread interest, but until its physical location is confirmed, it remains one of Banksy’s more mysterious contributions.
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Sundaram Tagore with Sebastião Salgado in Venice (2015)
When film director Danny Boyle saw Sebastião Salgado’s photograph of Churchgate Station in Bombay (now Mumbai), he knew this was where he would end Slumdog Millionaire with the rousing Jai Ho dance sequence, writes Amit Roy.
This was revealed to Eastern Eye by Sundaram Tagore, who owns art galleries in New York and Singapore and is about to open one in London (he is moving from the previous smaller venue in Cromwell Place).
Tagore, who has flown in from New York to attend Eastern Eye’s Arts, Culture & Theatre Awards (ACTA) on Friday (23), last week participated in a photography exhibition called Photo London at Somerset House.
Now in its 10th year, “the UK’s leading photography fair” said that Photo London 2025 was “dedicated to the past, present, and future of photography”.
Salgado’s iconic 1995 photograph of Churchgate Station in Bombaygetty images
Tagore had a booth where he showcased work by several celebrated photographers, including three – Salgado, Steve McCurry and Karen Knorr – all of whom have drawn inspiration from India.
The work of the Brazilian-born Salgado has been described by Andrei Netto of The Guardian as an “instantly recognisable combination of black-and-white composition and dramatic lighting”.
“He’s a world-renowned photographer who has a deep relationship with India,” said Tagore, standing in front of Salgado’s famous photograph of Churchgate railway station in Mumbai (previously Bombay).
The photograph was taken by Salgado in 1995 (when Bombay was renamed Mumbai) as part of a decade-long series on the subject of “migration”, said Tagore, who explained the circumstances in which the picture was taken.
“When he got to the station, he knew he wanted a vantage point higher up,” said Tagore. “Then he was told he’d need to go to an office to get clearance (because everything in India is bureaucratic). He was looking around, thinking ‘Where can I take a photograph of Churchgate?’ Just then he saw this scene and, without waiting for official clearance, just snapped the picture. And in the migration context, if you look carefully at the picture, only two people are static. There is this man who appears to be looking across the crowd to a woman sitting down.”
MF Husain in his Bombay studio (1993); Karen Knorr with her works shown at Photo Londongetty images
Tagore said Boyle happened to come across the picture when he was shooting Slumdog Millionaire in 2007, with Dev Patel and Freida Pinto in the lead roles. Boyle is reported to have said, “This is where I will end the film.”
Tagore added, “This is where the Jai Ho dance scene takes place. That was the inspiration. It was all a bit accidental.”
In his booth, Tagore had also included photographs by McCurry, who is just as famous for his images captured in India.
He caught a boy running down a lane in Jodhpur in 2007. On a taxi journey between Jodhpur and Jaisalmer in 1983, he captured a group of women caught in a sudden sandstorm. He photographed the painter MF Husain in his Bombay studio in 1993. And, in China, in 2004 he took a photograph of Shaolin monks in training in the city of Zhengzhou.
The Opium Smoker, Chitrasala, Bundi (2017) by Knorr and Steve McCurry’s photograph of women caught in a sand storm in Rajasthan in 1983getty images
Present alongside Tagore was photographer Karen Knorr, who talked to Eastern Eye about her striking images – she takes pictures of lions, tigers, peacocks, horses, deer, elephants, cheetahs and swans, for example, and inserts them into photographs taken separately of ornate rooms in palaces and forts in Rajasthan.
She is a German-born American photographer, “the product of a photojournalist mum and a father, who was an editor of a Stars and Stripes American paper in Frankfurt am Main, where I was born”.
She grew up in Puerto Rico and now lives in London.
Her website says that her “photography explores cultural heritage and its ideological underpinnings. Questions concerning post-colonialism and its relationship to aesthetics have permeated her photographic work since the 1980s. Her acclaimed work, India Song, researched the stories and myths of India, photographing animals and placing them in temples and palaces across heritage sites in India. In 2024 Sundaram Tagore Gallery held a solo exhibition of her work, Karen Knorr: Intersections.”
Works shown at Photo London included The Opium Smoker, Chitrasala, taken in Bundi in 2017.
Standing in front of two of her photographs – one called The Transgressor, taken at Takhat Vilas in Jodhpur in 2022, and another titled A Moment of Solitude at Amer Fort in 2021 – she spoke about how India had changed her life.
A British photographer called Anna Fox introduced Knorr to Abhishek Poddar, head of the Museum of Art in Bangalore (now Bengaluru).
She remembered: “He picked up the phone and said, ‘Why don’t you come to India?’ And I said, ‘Why not?’”
getty images
There have been numerous trips to India since her first visit – a “very long road trip across Rajasthan”.
“I immersed myself in India. I would revisit places I had visited before. I am very interested in how time changes a building. I just sort of fell in love with the country. Its hybridity is what really interested me, this idea that architecture could be there for diversity, reconciliation, different cultures coming together. I read most of William Dalrymple’s books and his very critical and alternative history of India that didn’t glorify the British empire. Some of the spaces are older than British rule. What interested me were the Muslim inflections in the buildings. I read the Mahabharat and the Ramayan, everything from (American Indologist) Wendy Doniger to Dalrymple.”
As for the animals inserted into her pictures, she said: “I found the animals were as important as the cultural heritage. I use them as transgressors and disrupters. They are not supposed to be there. I didn’t photograph the animals in situ. That would never work. The animals would move. So, I became a wildlife photographer. Often, I wouldn’t know which animal goes where. I would work on that in London. The animal chosen has to work within the space. It’s about designing an effective image.”
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Seated Jain enlightened teacher in meditation (1150-1200)
seated Jain enlightened teacher in meditation (1150-1200)
PRAYERS by representatives of the Hindu and Jain faiths, followed by Buddhist incantations, echoed through the Norman Foster-designed two-acre Great Court at the British Museum last Monday (19).
The occasion was a significant and auspicious one for Eastern Eye readers and the wider British Asian community – the opening of the British Museum’s landmark exhibition, Ancient India: Living traditions.
Curated by Dr Sushma Jansari, head of the British Museum’s south Asia department, the exhibition looks at how Hinduism, Jainism and Buddhism influenced each other over a 600-year period of Indian history.
The Buddhist incantations of monks from the Buddhapadipa temple in Wimbledon followed prayers offered by Kirtan Patel, cultural engagement volunteer at the BAPS Swaminarayan Mandir in Neasden, north London, and Jayeshbhai Shah, a priest from the Oshwal Association of the UK in Potter’s Bar in Hertfordshire.
George Osborne, chairman of the trustees at the British Museum and chancellor of the exchequer when David Cameron was prime minister, said: “Compared with these religious traditions, the 250-yearhistory of the British Museum, this temple of enlightenment, is relatively short.”
He quipped: “We probably never had an exhibition blessed before in quite that way by three different religious traditions.”
Standing at the podium in front of a poster featuring the elephant-headed Hindu deity, Ganesh, he said: “Everyone who ever speaks from this podium complains about the acoustics in the hall, but I think it was designed for a wonderful kind of echoing of the chanting.”
He said the curator and her team had taken some difficult decisions in not doing the exhibition in a traditional manner. Osborne was referring to the way in which the story of the three faiths was shown.
Seated Jain enlightened teacher in meditation (1150-1200)
“They’ve tackled this 600-year period of Indian history not in a boring, straightforward, chronological way, which museums have done before.
“Instead, it plunged into this very complicated story of three different religious traditions and how they emerged, how they interacted with each other at this crucial period of Indian history – this was a difficult exhibition to create and conceive.”
Osborne pointed out that the British Museum “is famous is for its monumental sculptures from India and Egypt and the near East and so on. And, yet, this show is all about the personal. It’s all about trying to connect with what people thought, believed, and what was intimate to them 2,000 years ago.
Naga sculpture (17th century)
“And again, this is a museum that is trying to introduce new audiences to our collection and the collections that we draw on from around the world, and make that human connection to people.”
He stressed: “The clue is in the name of the exhibition. We are not just a museum of the past, and not just a museum of relics, of dead traditions, of dead empires, things that have gone before us. There is a deliberate effort here, in this show, as indeed in many other things, to connect to the today and to the future.
“These great religious traditions are followed by many billions of people in the world today. And that, again, is something we’ve deliberately chosen to do. It’s something it would be easier to stay out of. And a lot of people would say, ‘Let’s not talk about religion. Let’s back off.’ And we stepped forward. That shows that the British Museum is really at the top of its game at the moment.
“What you’ll see in this show is a lesson in collaboration – collaboration with religious communities, collaboration with museums in the Indian subcontinent and beyond that. And it shows us doing what I think we were supposed to do, which is draw people through these doors, and hopefully when they leave, they know a bit more about the world, they understand a bit more about the world and they’re a bit more sympathetic to the world.”
Buddhist monks
The British Museum’s director, Nicholas Cullinan, explained: “The visual traditions of ancient India were adopted and adapted to new settings and cultures. And, of course, this exchange was never one way. As these traditions spread (to south-east Asia, China, Japan and other parts of the world), they encountered and absorbed local influences, creating rich artistic dialogues and images that can still be traced in the objects on display. In doing so, they helped to shape religious life in many parts of the world, creating shared visual languages that connect to distant communities across oceans and continents, as they still do today.
“This is not just an exhibition about the past. These living traditions and the art objects on display are as relevant and meaningful today as they were when they were first made. This exhibition has been developed in close collaboration with members of practising Hindu, Buddhist and Jain communities (in the UK). I’d like to express my sincere thanks to the members of our community advisory panel who generously shared their knowledge, insight and perspectives throughout the development of the exhibition. Their voices are woven into the exhibition and have shaped how we present powerful works to new audiences.
“We’re also deeply grateful to our lending partners who have made this extension possible, and, foremost among them, is the CSMVS Museum (Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, formerly the Prince of Wales Museum) in Mumbai, the National Museum of New Delhi and many other global and national partners. Their generosity has enabled us to gather more than 118 exceptional objects, each with its own story.
“Of course, I’d like to express particular appreciation to Dr Sushma Jansari, the curator of this exhibition. Her expertise, commitment and vision have guided this project from the early stages to the extraordinary experience you’ll have this evening.
“In a time where we’re often focused on division, I think this exhibition reminds us of our shared narrative, the real desire to seek meaning in our lives, to create beauty and to honour something that is far greater than ourselves.
“These works are not just relics or sculptures. They are real and genuine expressions of devotion, compassion, creativity and connection. They are reminders of this common heritage that crosses time, languages, belief and nations, and so I hope you will find joy and wonderful inspiration in this exhibition, and leave with a deeper appreciation of the truly extraordinary cultures that created them and have shared them in the world.”
The British Asian community, especially the acting fraternity, will be fascinated to learn that film director Waris Hussein is halfway through writing his memoirs. After all, how many British Asian directors can lay claim to straightening Richard Burton’s tie?
He directed Burton and Elizabeth Taylor in the film Divorce His, Divorce Hers in 1973.
Hussein, who is 86 and not as mobile as he used to be since suffering a stroke a few years ago, is expected to attend Eastern Eye’s Arts, Culture & Theatre Awards (ACTA) on Friday (23).
As a young man fresh out of Cambridge, he made television history when he directed the first seven episodes of Dr Who in 1963 and established what has since become the BBC’s most successful franchise that has been sold all over the world.
Hussein and Richard Burton getty images
In fact, when the BBC marked the 50th anniversary of Doctor Who in 2013 with a specially written drama called An Adventure in Space and Time, the young Hussein was played by the actor Sacha Dhawan.
Hussein, who has spent many years of his career working in America, has maintained a home in London, where he talked to Eastern Eye.
“I’ve worked with some of the most eminent people in the business – (Laurence) Olivier, (John) Gielgud, Peggy Ashcroft, Sybil Thorndike, and then eminent movie people like Tony Hopkins,” he said.
He laughed: “I have a whole wall on which I keep photos of people I’ve worked with – I call it my wall of fame.”
There is a picture of him with Angela Lansbury and Patricia Hodge – the latter had written, “Darling Waris, I think I look drunk with happiness at working with you again.”
There is an inscription from Anthony Quinn whom he had directed in Onassis: “To Waris, a fantastic director & friend.”
Hussein with Angela Lansbury and Patricia Hodge on the set of The Shell Seekersgetty images
There are photographs of him with Bette Davis; Claire Bloom; Sybil Thorndike; Donald Sutherland and Teri Garr; Ian McKellen and Janet Suzman; Jeanne Moreau, Joan Plowright & Julie Walters; Keith Michell (as Henry VIII); Laurence Olivier and Joan Plowright; Peggy Ashcroft (in Edward & Mrs Simpson); Stephanie Powers & Eva Gardner; Ted Danson & Richard Mansur; and Barry Manilow. There is one with Bill Clinton who played himself in A Child’s Wish – the US president had written, “I enjoyed taking direction from you.”
Hussein’s record suggests he is probably the most successful director the British Asian community has produced in the last half-century.
Waris Habibullah (he later changed his surname to Hussein) was born in Lucknow in India on December 9, 1938, which is why he felt an instinctive sympathy for the former BBC presenter Mishal Husain when he read that her family had also originated from Lucknow.
Hussein with his mother Attia Hosain and Barry Manilow on the set of Copacabanagetty images
He said: “Lucknow is central to my background, where I was born and raised. It is known for its arts, culture and cuisine, and I am proud of that heritage.”
The young Hussein came to Britain with his family in 1946. He went to public school at Clifton College in Bristol and read English at Queens’ College, Cambridge. He has reservations about his time at Clifton: “I had a hard time, because in my mind, Clifton was created in the mid-19th century to educate administrators for the empire – for the ICS (Indian Civil Service). Most of the older boys were sent off to India to administrate and be a part of that landscape. I was resentful at being told that I should expect to order people around in an authoritarian way.”
In marked contrast, “Cambridge was three years of the most important period of my life. I made so many friends there who are now prominent in their fields. One of my contemporaries was Ian McKellen, whom I had the privilege of working with in the very first film that I made. I had directed him as a student. I was able to express myself in a way that I don’t think I would have been able to do anywhere else. At Cambridge you get not only a scientific university, but it encouraged arts. And some of my professors were very prominent in the arts, and I learned a lot from them.”
Hussein with Bill Clinton on the set of A Child’s Wishgetty images
His mother, Attia Hosain, who had a patrician background, was also a great influence on him. After the Partition of India, she chose not to go to Pakistan.
“I owe much to my mother’s creativity and her incredible resilience, because she was transplanted here (to the UK),” he said. “She wrote her first (semi-autobiographical) novel (Sunlight on a Broken Column) in English way back in 1961. It is still read by many, many women in colleges in India. My book is a tribute to her.”
He said of his memoirs: “What I’m trying to do is reorganise my rambling and my memories about being an outsider looking in. Since my stroke, I have begun to appreciate life even more. Apart from being taken care of by some very good medical people, I’m also surrounded by others who look after me. I’m determined to survive as much as I can, particularly on my own terms. In spite of my condition, I’m very lucid. I’ve got my mental marbles, and I can vividly remember things that have happened in my life – the names and places of people I’ve encountered.
Hussein with Donald Sutherland and Teri Garr on the set of The Winter of Our Discontentgetty images
“I’m hanging my narrative on the people I’ve known and who were important in my life. The only thing to do is to be honest about these things and not hide anything. Most of my friends are people of a literary nature – they are creative, write and think for themselves, and encourage me to do the same. I’m inspired by my friend Miriam Margolyes, who wrote her memoirs. She spoke quite openly about her emotional situation. People might be interested in mine because of my Doctor Who connection.
He recalled: “If you look at my repertoire, at the height of the BBC’s golden age of drama, I was doing up to 10 dramas a year. I did things like (Bernard) Shaw’s Saint Joan and Ibsen’s Hedda Gabler, which are classics with prominent actors. I’ve dealt with everything from Henry VIII to the abdication of Edward VIII.”
Hussein with Donald Sutherland and Teri Garr on the set of The Winter of Our Discontentgetty images
In February 2018, the National Film Institute devoted the whole month to a retrospective on his work called Breaking Through. The season began with a screening of A Passage to India (1965), which he felt had “echoes of my own life in terms of my origin”.
A Passage to India was based on EM Forster’s 1924 novel about the clash between two cultures. The impressionable Adela Quested, freshly arrived in India, imagines Dr Aziz has behaved inappropriately towards her while showing her the mysterious Marabar Caves. The ensuing trial proves he was innocent, but exposed the fault lines in the relationship between Indians and their colonial masters.
Other films in the season included The Possession of Joel Delaney (1972), a psychodrama starring Shirley MacLaine; Chips with Everything (1975); and Copacabana (1985), with Barry Manilow.
Dame Sybil Thorndike in A Passage to Indiagetty images
Some of the stars he had worked with came for the respective screenings of their films. For example, Virginia McKenna attended the screening of A Passage to India, Janet Suzman came for Hedda Gabler (1972), Ian McKellen for A Touch of Love (1968), and Claire Bloom for Intimate Contact (1968), a tale of how heterosexual AIDS devastates a family.
When he was interviewed on stage by the arts journalist Samira Ahmed, two-minute clips were shown from some of his other films. They included Daphne Laureola (1978), starring Laurence Olivier and Joan Plowright; Edward & Mrs Simpson (1978), which earned him a BAFTA; and Divorce His, Divorce Hers (1973), starring Burton and Taylor.
Some of Hussein’s early work had been wiped clean by the BBC, it was revealed.
On television in 1976, he directed The Glittering Prizes, which gave Tom Conti’s career a huge boost.
Hussein with Sacha Dhawangetty images
Sometimes, he suffered racist abuse. He once told Eastern Eye that his sister, Shama Habibullah, later a distinguished film producer, “left England because of all this. She went to Cheltenham Ladies’ College, to Cambridge, is highly educated, far more intelligent than me. One day she was waiting at a bus stop on Clapham Common and a drunkard abused her. ‘Why don’t you f****** people go home? You breed like rabbits. You smell of curry.’ Nobody said anything. She came home in tears and said, ‘I can’t live here anymore. What has it all meant? Why did I go to school here when this is what I’m reduced to?’”
An autographed photograph of Hussein with Anthony Quinn on the set of Onassisgetty images
He received worse abuse at a dinner party in the late 1970s. “It was a very smart, upper-class dinner in Campden Hill. All male company. This man sat next to me and said, ‘And what do you do?’ I told him I was directing Edward and Mrs Simpson and he replied, ‘Fancy! I had no idea we’d have colonials telling us about our lives.’ After dinner this man said, ‘Ugh, I really don’t think I can be in the same room as that man over there,’ pointing to me. I stood up and said, ‘I’m going to spare you that embarrassment. One thing I will say is I was brought up to be polite and a gentleman under your British rule, and I know what the rules are. Some of you obviously don’t. I’m going to leave now.’”
In writing his memoirs, he said he hoped he might be providing “a beacon for the younger generation who might want to know what I have done.”