Blessed is the film that rides on such happy coincidences on its promo run—as Baaghi 3 nears the starting block, stars Shraddha Kapoor and Tiger Shroff celebrate their back-to-back birthdays, on March 2 and 3. Shraddha, in a fabulous dress, needs two hands to wield the knife. Guess the flavour? Butterscotch would be a fair bet.
Big, fleshy leaves like these are top dogs of the botanical world—sucking deeply of the sun to give its texture a thick, waxy feel. They have to, otherwise they wouldn’t be the cover of choice for carnivores in jungles, for frolicsome dames in love in thousands of Bollywood films, and for advenurous minxes and artful lensmen in urban jungles. Luxuriate, then, in Kiara Advani’s knowing innocence in Dabboo Ratnani’s annual calendar. We’re still looking, for green is a soothing colour.
Some people have an indescribable urge to escape their natural destinies, even privileged ones. Why else, would the (adopted) daughter of one the most powerful men in the world’s most influential movie industry wade into a career of a “self-produced adult entertainer”? Radical departure or plain boredom? But Mikaela Spielberg, 23, does salute her “most evolved parents”. Resigned acceptance is probably attained in an evolved state.
Another walk down the catwalk; another voluminous, crimped gown and the obligatory, ‘bold’ cut. But let that be...after scaring the wits out of cinema-going citizens in Ghost Stories, Janhvi Kapoor has been handed the meatiest of roles—that of Kargil War fighter pilot Gunjan Saxena. Shall she make the most of The Kargil Girl? The cockpit is another world; they do things differently there.
Along with an exquisite bouffant cresting her (usually) short hair and framing her lovely face, Deborah Kerr (1921-2007) had a regal pose, an imperious look and a sad, lopsided smile that imparted an aloof, ladylike splendour. Her famous roles all play to these strengths, though they are often threatened—as a colonel’s bored wife in From Here To Eternity (1953)—in high-collared shirt and shorts, the perfect foil to Burt Lancaster’s cocky sergeant, the proper Anna in The King And I (‘56), as an obsessive, psychotic nun in William Powell’s Black Narcissus (‘46) and as the haunted governess in The Innocents (‘61), an adaptation of The Turn of the Screw. British-born, her first film was Powell’s Contraband (‘40); other early films include The Life and Death of Colonel Blimp (‘43) and Perfect Strangers (‘45). MGM billed her as “Deborah Kerr. It rhymes with star”, and her aura of quiet elegance was cemented in Quo Vadis? (‘51), Julius Caesar (‘53) and as the self-sacrifi-cing heroine in The End of the Affair (‘55). Other hits are An Affair To Remem-ber (‘58, opp. Cary Grant), The Sundowners (‘60), Elia Kazan’s The Arrangement (‘69) and Huston’s Night of the Iguana (‘64). Late flourishes include The Assam Garden (‘85) and A Song at Twilight (‘81). An honourary Oscar arrived in 1994, after six career nominations.