Quiet Strength and Screen Light: Tabrez Barmavar

Basic Information

I remember the first time I chased a small, quiet name through the clattering archives of old Hindi cinema—Tabrez Barmavar. He is not the sort of marquee headline that strolls in with lights and a trumpet; he is the character actor who nudges a scene forward, the off-screen hand that steadies a famous actor’s path. In my mind he’s cinematic in the way a back-lot streetlamp is cinematic: not the sun, but essential to the picture.

A life sketched in dates and frames

The outline of a life can be built from a handful of dates—1970, 1974, 1978, 2003—and in those years you can see a man move through celluloid and life. In 1970 Tabrez features in Johnny Uska Naam; by 1974 he’s on the set of Jeevan Rekha, and it’s there that life does what films often do—blur the line between role and reality. He met Farida Jalal during work on Jeevan Rekha, and the two married in 1978, reportedly in November, after which they moved to Bangalore, where a quieter chapter awaited: family, a soap factory, and the daily small-scale business of living.

Here’s a timeline that reads like a backlot script:

Those numbers are thin, but they’re honest; they’re the scaffolding from which the rest of the story hangs.

Career — small roles, durable presence

Calling Tabrez’s career “brief” undersells a certain persistence. He shows up in supporting parts across the 1970s—a decade that loved character players who could hold a scene steady while the leads did the heavy emoting. The filmography that surfaces most often lists a handful of titles from that era; not a constellation of stars, but a dependable string of lights along the skyline of mainstream cinema.

If acting was one stage, business was another. Reports indicate he ran a soap factory in Bangalore after the marriage—concrete proof that his life was not limited to the projector’s beam. That pivot from film to factory is the kind of mid-century story that smells faintly of engine oil and studio dust: practical, steady, domestic.

Family — the people who give a story its human weight

Family is where the public shape of Tabrez softens into private feeling. Introductions are short but telling.

• Farida Jalal — spouse. A name that rings in Indian cinema, Farida’s career is far better documented; Tabrez appears in public memory chiefly as her husband. Their union—reported to have occurred in 1978—was a collision of on-set chemistry and off-screen partnership. I picture them as an old black-and-white photograph: she in a printed sari, he with the calm smile of someone used to listening.
• Yaseen (son). The couple had one son, commonly named in public mentions as Yaseen (sometimes spelled Yasin). He is the quiet next generation—less in the headlines than in family frames—and occasional social references suggest an interest in creative fields, though the public footprint is small.

This is a small family tree—two leaves and a trunk—but it’s the kind of domestic scaffold that often remains the true center of a life that the public only glimpses.

What the records don’t tell you (and what I imagine)

There’s an important kind of silence in the public record around Tabrez—no lavish biographies, no financial tallies, no sustained interviews; just mentions, credits, a handful of dates. That absence matters. It leaves room to imagine the texture of his everyday: the click of a factory floor, the smell of soap and sunlight in a Bangalore yard, the muted pride of a supporting actor who watched the world perform while he kept the mechanism running.

If I had to give him a line—something that might belong to him in a quieter film—it would be: “I preferred the margins; they gave me space to see.” It’s a made-up quote, yes, but it tries to honor a life lived where the camera didn’t linger.

Public chatter — sparse, domestic, affectionate

Mentions of Tabrez in news and social chatter are typically contextual—background notes in profiles of Farida Jalal, nostalgic captions on fan pages, the occasional photograph on social media. There’s no steady stream of gossip, no scandal sheet frenzy; instead, there’s a respectful quiet—an archive of small observances. Even the reports of his death in September 2003 appear as a detail in broader narratives, rather than the headline itself.

Filmography snapshot (selected)

These entries are a modest roll call—three names that trace a decade. But in the world of film, small parts add up; they are the mortar between bricks.

FAQ

Who was Tabrez Barmavar?

Tabrez Barmavar was a supporting actor in 1970s Hindi cinema who later ran a small business in Bangalore and was married to actress Farida Jalal.

When did he marry Farida Jalal?

They reportedly married in 1978, with many accounts noting November of that year.

Which films did he appear in?

Selected credits include Johnny Uska Naam (1970), Jeevan Rekha (1974), and Ganga Ki Saugand (1978).

Did Tabrez have children?

Yes—he and Farida are reported to have one son, commonly named Yaseen.

What did he do outside acting?

Reports indicate he managed a soap factory in Bangalore after his film work.

Is his net worth publicly known?

No; there are no reliable public records documenting Tabrez Barmavar’s net worth.