Within the charmed, golden circle of the 2011 World Cup win, we Indians inscribed an emotional nucleus: the zenith of Sachin’s glorious career being celebrated from atop the shoulders of his adoring teammates. Those moments, said the voting public at the Laureus World Sports Awards, was the ‘best sporting moment’ of the past 20 years. In Berlin, Boris Becker and Steve Waugh—creators of many winsome moments themselves—presented the award to Sachin.
Can the clenched-jaw, pistol-fisted Bond attitude be channelled into a joyous, award-winning posture? Oh yes, it can, as Taapsee Pannu (though her outfit cruelly murders a butterfly) and Bhumi Pednekar shows, as they receive their critics choice Filmfare awards in Guwahati for Saand Ki Aankh, a biopic on octogenarian sharpshooters Prakashi and Chandro Tomar.
Listen all ye millennials, when the forebears of your world-beating Rohit, Virat and Jasprit were a bunch mostly blundering about in bright blue, there was Leander—sole bearer of the tricolour in the brutally competitive sport of tennis. When Agassi declared himself a fan at the Atlanta Olympics where Leander won a bronze, we had a famous team-member. After 30 years, the 46-year-old played his last ATP event at home. Illustrious fans congregated for the occasion, among them Ashwini Nachappa.
Disha Patani’s sartorial excursions swing between comfy, mumsy gymwear for a display of elasticity, and sexy outfits for a display of...well, an embarrassment of surplus oomph. We appreciate your gratitude for us plumping for the latter for our purposes. The lady, meanwhile has bagged an ‘action’ role in Mohit Suri’s Ek Villain 2, after her ‘chemistry’ with Aditya Roy Kapur in Malang impressed the discerning audience. Even those who said the film was nothing made eyes at Disha. We understand, brothers.
His fellow Golden Age greats are justly celebrated—not just Gable, Tracy, Flynn, Colman and James Cagney, but William Powell, Frederic March and Robert Donat too. Robert Taylor (1911-69) seems a curiously obscure figure amidst all this well-worn starlight. Yet this classically handsome actor was an immensely popular romantic lead who courted all the top ladies: Eleanor Powell in Broadway Melody of 1936 (1935), Irene Dunne in Magnificent Obsession (‘36) Jean Harlow in Personal Property (‘37), Barbara Stanwyck in His Brother’s Wife (‘36) and Garbo in the langurous Camille (‘36). Then there were A Yank at Oxford (‘38) and Three Comrades (‘38, screenplay by F. Scott Fitzgerald). In an effort to play challenging, ‘tough man’ roles, Taylor played a boxer in The Crowd Roars (‘38) and villains in Undercurrent (‘46), The High Wall (‘48) and Devil’s Doorway (‘50). There were old-fashioned heroics too, in period pieces like Quo Vadis (‘51) and Ivanhoe (‘52, opposite Elizabeth Taylor and Joan Fontaine). As if to leave nothing to chance, Taylor also personified bitter, flawed heroes (the smooth beauty of his youth had, by now, given way to a rugged, raggged demeanour lined with the grime of experience) in Westerns like Ambush (‘49) and Westward the Women (‘51). Robert Taylor would have hoped his legacy to have lasted, but some Hollywood throws of dice give cruel returns.