Being over 40 doesn’t seem to be a major issue for actors these days; some feel it’s an advantage!
They say ‘Growing old is mandatory, but growing up is optional’, but had the person who said that seen some of the current Pakistani actors, he or she might have changed it to simply ‘Growing old is optional!’. Thanks to modern-day fitness regimes, special diets and some help from Mother Nature, many celebrities in their forties are giving tough competition to young folks in the same business.
Be it the wonderful Ahsan Khan who seemed to defy age in Fraud, or the youthful Fawad Khan who doesn’t look a day older than 30, the majority of the A-list actors in Pakistan have celebrated their 40th birthday. While that might be troublesome for actresses in the country or in the neighboring country, it isn’t a problem for the leading men, a few of whom believe that crossing 40 is good for them. Gone are the days when actors were cast because of their looks (and age, of course!) and once you crossed forty, you were either cast as the older brother, the father, or someone in an unrelated supporting role. Talented actors who played leading men in their heydays including Farhan Ally Agha, Shabbir Jan, and more recently Sohail Sameer were relegated to character roles, despite being popular as leading men. While Farhan Ally Agha and Shabbir Jan who played the hero in the 90s and 2000s are in their early fifties, Sohail Sameer isn’t even forty-two yet he gets to play fatherly roles, most recently as in Kaala Doriya which is currently on air. It took the might of Humayun Saeed, Adnan Siddiqui, and others to stop that cycle, but now that they are over 50, one has stopped appearing on TV whereas the other has moved on to ‘fatherly’
roles. When they appeared together in Mere Paas Tum Ho three years back they played grown-up men who fought over a relatively younger Ayeza Khan, and many didn’t mind that since they played someone closer to their actual age.
Unlike the West where Clint Eastwood in his nineties continues to play the leading man, 80-yearold Harrison Ford still gets top billing and sixty-sixyear-old Tom Hanks still commands the respect he did in the 1990s, Pakistani celebrities need to go the Tom Cruise way, or the oldies way. They need to look good to play the leading men, and no amount of experience can make the producers change their mind, except when that person is the one pumping the money. However, not all actors have the luxury of becoming producers, hence they defy age to stay afloat. Besides the aforementioned Ahsan Khan and Fawad Khan, there is the multifaceted Faysal Quraishi, the forever young Sami Khan, the talented Junaid Khan, the gifted Syed Jibran, and even the 90s heartthrob Moammar Rana who are in their 40s and still giving the younger lot a run for their money.
While Moammar Rana continues to work in limited Urdu and unlimited Punjabi flicks, Fawad Khan played the title role in The Legend of Maula Jatt, which has become the most successful Pakistani film of all time. On the other hand, Syed Jibran won the audience’s heart as the ‘brotherly’ Vicky bhai in his film debut Ghabrana Nahi Hai last year as did Junaid Khan in Kahay Dil Jidhar, which came a few months earlier. Unlike Moammar and Fawad, Jibran and Junaid are busy working on TV as well, and while Jibran’s character was the most loathed in Darrar – where he dated three younger actresses simultaneously – Junaid’s charming personality helps him play the lover boy easily, who is usually on the right side, unlike his contemporaries who love the challenge of crossing over to the dark side.
Add to that list those actors who are working on TV yet don’t look above 40 and two names appear from nowhere – Adeel Husain and Bilal Ashraf. While Adeel Husain has been part of the TV industry for more than a decade, Bilal Ashraf will be making his debut on the smaller screen after dazzling the audience in the cinema. Their presence on TV is a welcome change for the audience since they choose their projects very carefully, and that seems to be one of the reasons why their screen age doesn’t exceed their real age.
Then there are the forever young Ahsan Khan and Sami Khan who can pass for any kind of character be it a lover boy or a younger man, thanks to their powerful genes, their ability to adapt to any kind of character, and the strict diet and fitness regime they follow.
The duo seems to be following the path set by their predecessor Faysal Quraishi who looks good in every character he plays, no matter who is cast opposite him.
We have the option to dive into the younger version of ours and at the same time, we can jump up into the more mature category as well, so the options are twofold being in the 40s. The 30s and the 50s are available to explore thus giving us an age bracket of 30 years to experiment
Syed Jibran Actor
I am thankful that I am being offered custom-made characters – Faysal Quraishi
The way people like Faysal Quraishi are going, getting a meaty role for a youngster seems more like a dream than a possibility, and the newer actors will have to work extra hard to make a name for themselves, or ‘wait’ for their turn. That’s what nearly every actor in his 40s today had to do when they made their TV debut, and it is that experience that makes them so valuable today.
Faysal Quraishi believes that at a time when he is nearing 50, the reason he is able to survive as a leading man is playing someone closer to his actual age. ‘I usually play someone who is in his 40s which helps because it is closer to my real age. In dramas like Haiwan, Farq, and Muqaddar, I even said yes to characters in their 50s because it was easily manageable unlike playing a 30-year-old which would seem odd today.’
The Bashar Momin actor added that since he is being offered characters that are custom-made for him, all he can do is be thankful to the producers, and his fans who approve of his experimentation. After all, he is way past the ‘Maa Maa main matric main pass hogaya’ stage and he has no issues about growing old if he is growing up in the process.
Forty is a milestone that is to be accepted in its own style – Syed Jibran Syed Jibran has done more negative roles in recent years than positive ones, but that has nothing to do with his age, he says. In Ranjha Ranjha Kardi the character he played was young, in love with the leading lady, and had he stayed on the right path might have ended up with her. Similarly, Vicky bhai in Ghabrana Nahi Hai was a youngster who went to all lengths to win over his cousin (played by Saba Qamar) who wasn't interested in him. But in the end, it was his character who was cheered out of the cinema for his heroic actions. When asked about the phenomenon of aging, the talented actor said that aging is a phenomenon that has to be experienced by everyone no matter what.
‘Everybody ages but beauty is how you accept to age and mold yourself accordingly with grace and class.
Certain things suit you when you are a teenager but you have to let them go when you get to your twenties and then the thirties come with their own
set of etiquettes. Similarly, forty is another milestone that is to be accepted in its own style.’
The Khudgarz actor went on to add that those actors who are able to 'look' their characters are the ones that are remembered once the show they are part of ends. ‘As an actor, we defy all logic regarding age, as we are chameleons who transform into various characters of different ages throughout our journey. Age, therefore, is not a hindrance but is directly related to our fitness and health. The longevity of our career is thus directly proportional to how we maintain ourselves rather than how old we are.’
As a seasoned and mature actor, Jibran believes the margin to perform is greater than being a teenager or a young man. ‘We have the option to dive into the younger version of ours and at the same time, we can jump up into the more mature category as well, so the options are twofold being in the 40s. The 30s and the 50s are available to explore thus giving us an age bracket of 30 years to experiment.’
TV needs mature heroes, making the situation ideal for us! Junaid Khan
If you didn’t know that Michael J. Fox was 34
when he played teenager Marty McFly in Back to the Future, Ralph Macchio was 28 when he played Daniel LaRusso for the last time in The Karate Kid III or Aamir Khan was 44 when he was cast in 3 Idiots, you need to improve your knowledge about actors. They were successful because they fitted the character and duped the audience into believing that they were as old as their characters, even if they weren’t.
Singer-turned-actor Junaid Khan may not look like a youngster but he doesn’t look his age either, because of the fact that he hasn’t been overexposed in front of the camera like his contemporaries. He believes that being in his 40s is a blessing for him since it gives him the edge over the younger generation who have no clue how a middle-aged man would feel in certain situations.
‘Films or digital might be the medium where the hero has to be young to attract the audience but TV is a more mature medium in the country, where the stories revolve around men than boys. That’s why I feel that actors in their 40s have more scope on TV than in films because they can easily play a character in their 30s because they have been there recently or in their 50s because they are moving towards that slowly.’
He went on to explain that when a person is in their 40s, the process of aging sort of slows down, which helps especially when you are an actor. If the actor looks the part, then he can play the character easily, convincingly, and without the fear of looking odd.’
The way actors like Faysal Quraishi are getting meaty roles, for a youngster it seems more like a dream than a possibility, and the newer actors will have to work extra hard to make a name for themselves, or ‘wait’ for their turn
With the introduction of a Death-like character, the producers of Puss in Boots: The Last Wish help it make the ‘purr-fect’ comeback
By Omair Alavi KARACHI
Nineteen years after making his debut in Shrek 2, and nearly a dozen years after appearing in his own spin-off, Puss in Boots is back again, but this time, he doesn’t have the luxury of his other lives for a change.
In normal circumstances, that would not have been ideal, but in Puss in Boots: The Last Wish, that one change makes the film all the more interesting. With director Joel Crawford and co-director Januel Mercado at the helm, the return to the animated ‘Shrekverse’ manages to make the audience feel nostalgic, as well as take a sneak peek into the future where a onelife Puss in Boots is more dangerous than all of his nemesis, combined.
The plot Puss in Boots (voiced by Antonio Banderas) is not just an adventurous cat but a legendary feline who always saves his fandom from trouble, even though the trouble might have been caused partly by him. After losing his eighth life while saving his town from a disaster created by him, the village doctor advises the swashbuckling hero to hang his boots literally.
Still, Puss doesn’t take the advice seriously and goes on his own until he meets the Big Bad Wolf (Wagner Moura), who inflicts the first defeat of Puss’ career in a local pub.
The embarrassment of losing his maiden fight causes Puss to accept his vulnerability and ‘retire’ for good but when an opportunity to restore his previous lives presents itself, he makes a comeback, joining hands with former partner in crime Kitty Softpaws (Salma Hayek Pinault) and a dog disguised as a cat (Harvey Guillén). Will Puss in Boots succeed in getting his lives back or will the Big Bad Wolf, ‘Big’ Jack Horner (John Mulaney) and Goldilocks (Florence Pugh), and the Three Bears (Olivia Colman, Ray Winstone, and Samson Kayo), succeed in capturing him and claim the bounty on his head, Puss in Boots: The Last Wish is all about the race against time.
The good
The best thing about Puss in Boots: The Last Wish is Antonio Banderas who makes a triumphant return as the voice of the titular character, and gives a purr-fect
performance. Not only is he on top of his game, but he also doesn’t make the audience realize that it has been more than a decade since his last adventure. Add to that the vocal talents of his frequent costar Salma Hayek Pinault and you have
a deadly combination that is bigger than an animated movie. The two manage to raise the bar higher where the action is more on the lines of Spider-Man: Into the Spider-Verse than the Shrek franchise, where the audience is involved from the
first frame till the last, and where both the young and old generations have something to cherish. Hardly any scene seems out of place in this 100-minute extravaganza where fairy tale characters do 'unfairy' kind of stuff,
which doesn’t surprise the audience much.
Not only do the artists lend their vocals to these characters perfectly, but their facial and vocal expressions are also as per the characteristics. One must mention Harvey Guillén's contribution to the sequel without
which this flick might not have been able to take the series forward. He has the best lines, the best backstory and if it is handled well, he might go on to become the best side character in the universe that also gave the audience the Donkey in Shrek and the penguins in Madagascar to name a few.
The bad
Too many characters spoil Puss in Boots: The Last Wish for the audience and while the plot deserved many villains, some of them could have had a cameo instead of a full-fledged backstory, a present and a future for which they were competing against each other. The script doesn’t deviate from the main story but yes, when the other villains came forward, it sort of lessened the importance of the Big Bad Wolf who sent shivers whenever he came on screen, and not only Puss was afraid of him, many in the audience were. Also, the action scenes were scattered here and there instead of linked together which sort of bored those in the audience who wanted more action, and less dialogue in this Puss in Boots adventure.
The verdict 3.5/5
It wouldn’t be incorrect to say that with the release of The Bad Guys and Puss in Boots: The Last Wish, DreamWorks has made a successful comeback in 2022, one that will see them produce more quality stuff in the coming days. The makers impressed the audience with the way they handled the gap between the two Puss in Boots films, and while that wouldn’t have been an issue had the sequel followed the original a couple of years later, the morethan-a-decade gap was a challenge, which was met successfully, partly because many in the audience have been watching Puss in Boots on OTT platforms. By being more mature than its predecessor, the Puss in Boots sequel has withstood the wave of Avatar: The Way of Water’s success which is nothing short of an achievement. Who knows the audience might be treated to an origin flick about Goldilocks and the Three Bears, or get to meet the Big Bad Wolf terrorizing another fairytale character because these two left an imprint into the audience’s mind by being fresh, and different. As for the Puss in Boots, it seems that hanging his boots is not on his agenda anymore. After all, he is everyone’s favorite fearless hero!
KARACHI By Faizan Usmani
The trailer of the long-awaited film ‘Pathaan,’ starring Shah Rukh Khan, John Abraham and Deepika Padukone in lead roles, is finally out. Written and directed by Siddharth Anand and produced by Aditya Chopra under the banner of Yash Raj Films, Pathaan is going to be released next week on January 25, 2023, coinciding with Republic Day of India.
Just like all films starring the uncrowned king of the Indian film industry have been, the film Pathaan is bound to be a commercial success, somewhere across the Happy New Year (2014) or Om Shanti Om (2007), in spite of on-going backlash from Hindutva elements. Though it sounds like a fancy talk before the film’s official launch, Shah Rukh Khan-starrer Pathaan, as the trailer of the film suggests, will expectedly become one of India’s highest grossing films of the year 2023, if not more.
Seemingly an action-packed thriller from the word go, the film seems to have covered all the bases and is right up the alley of the typical Indian audience who normally crave a formulaic flick with all the essential ingredients of a successful film that revolves around overblown patriotism and is meticulously coated with some unreal action, libidinous romance to the extent of a semi-skin movie and flashy music with lots of dance movements, together with an ensuing happy ending. No less, no more.
Ticking all boxes of a typical, garden-variety
India film drawing heavy inspiration from Hollywood, Pathaan severely lacks ingenuity and is off the mark as it appears to be a motley of scenes assembled together from many blockbuster films of international repute. Despite a star-studded cast, the film does not venture into the unknown and plays it quite safely by coming up with a predictable storyline with an expected chain of events that in some way drag the story to its ultimate storybook ending.
Yet another copybook film as rightly implied by its trailer, Pathaan boasts of quite a pompous cast that revels in its global fame, however, its leading names seem to have struggled in delivering an attention-grabbing drama. In place of carrying the story forward on their own, most of the lead roles, not excluding even Shah Rukh Khan who now ranks third on the world’s richest actors’ list, capitalise on their established celebrity status to make the film a riveting experience for viewers. Having miserably failed time and again in
search of proving his acting credentials as a film hero, for instance, John Abraham is unable to divest himself of his villainous avatar in the film. Deepika Padukone appears to be not less than a she-hero, putting the missing pieces together through yet another cut-anddried trademark performance which mainly resorts to showing her skin in every next scene, that too at the expense of sacrificing her femininity and natural grace in one go.
A case of elaborate action versus a relatable story, Shah Rukh Khan, obviously the leading Pathaan of the film, comes to the rescue this time to successfully save the whole India. However, whether he will be able to save the film is a matter that has yet to be determined. Over and above, the title of the film ‘Pathaan’ carries a racist tone as it over glorifies a particular human race at the cost of belittling the others, as though the rest of the non-Pathaan people rank lower or are less courageous or valiant than the projected ones.
Despite the on-going backlash from Hinduvta elements, the film Pathaan is bound to be a commercial success
How Mary Evans whip-cracked her way towards stardom and became Fearless Nadia in Bollywood
By Omair Alavi KARACHIWearing a mask, she rode horses onscreen when women weren't allowed to act in films; she sent men flying with a thwack long before an angry young man did it forty years later; she ran atop trains when it was considered suicidal for even stuntmen. Why? Because she was Fearless Nadia, the first action star of the subcontinent who even today is considered an iconic figure, in both Indian and world cinema. Fearless Nadia is a tribute to her legacy and there can’t be a better time to revisit the past than the month in which she was born as Mary Evans and passed away as Fearless Nadia. This definitive biography of Indian cinema's most unusual iconic figures was penned by Dorothee Wenner in German and was later translated by Rebecca Morrison for readers in the Indian subcontinent, and it is nothing short of a treat. Not only does it trace back the roots of feminism in Indian cinema but also talks about the person responsible for that. It begins with the journey of a young blonde girl in the mid-1930s who wanted to look after her family and ends up with a blueeyed woman who swung on chandeliers, sported a mask, and lived in the hearts of all those who paid to watch her win every battle. This book tells the readers about the origins of Mary Evans who went on to become the Hunterwali in India, how she came over to India from Australia, why she chose acting or acting chose her, and how she changed the way cinema was seen in her prime. Her tight-fitting shorts and brandishing whip added to her aura that drove audiences into raptures and gave stunt films the kind of push they needed to entertain audiences.
From the mid-1930s till the mid-1950s, Nadia was the top film star in India, and even though she wasn’t proficient in Urdu/Hindi, she let her hands, feet, and eroticism do the talking. According to this book, she was one of the first film actresses in India to wield revolvers, play with lions, and show the world full of men and women that nothing is impossible. Had it not been for her, filmmaking in India wouldn’t have taken the giant strides it did, and it would be fair to say that Bollywood as we know it today wouldn’t have existed without the fearlessness of a foreigner who was raised in the country. Be it her initial struggle as a foreigner in India, her ability to do things only reserved for men, and her insistence to take up challenges, nothing misses the author's radar who combs through her career with a microscope. How her ‘Heyy’ became popular is what the author touches on as well, but not before taking the readers through her strug-
gles in the entertainment industry. Had it not been for her street smartness, she might not have managed to make inroads into the movie business, the scenario which is mentioned in this book.
If you had no idea that before she became Nadia, Mary Evans toured India as a theatre artist and even spent time at a Circus, that she changed her name to Nadia on the insistence of an Armenian fortune teller, and that she loved doing her own stunts long before stunts became common, then you have to read this book. It also explores the relationship of the Wadia Brothers who introduced Nadia to films, with the younger one marrying her when she wanted to settle down later in her career.
Why was she nicknamed Hunterwali you might ask? Because the first film that brought the wild side of a wannabe actress to fore introduced her as Hunterwali, who wielded a whip long before anyone else did on the screen. That one hit changed her fortunes and made her the box office star and her backers - the Wadia Brothers - into successful filmmakers. This book explores the trio’s highs, lows, parting, and reconciliation perfectly, and intrigues the newer readers to find out more about the daughter of a Scottish-Australian soldier and Greek belly-dancer who ruled the male-dominated universe as a boss.
Not only does the summary of her hits like Punjab Mail, Diamond Queen, Jungle Princess, and Bombaiwali get mentioned in this book, the impact of these films on her future as well as that of Bollywood is discussed as well. Her retirement in the 1950s and her comeback when she turned 60 are explained as does her ability to give a tough time to her male co-stars who were mostly pushed to supporting roles in her presence. The book explains to the readers how Nadia inspired girls from respectable families to venture into films while the scattered pictures give them an idea of how she managed to embrace the culture she wasn’t born into. Since the writer wasn’t a native of India, she discussed things on the sidelines too much, which could have been edited in the English version. A book about Fearless Nadia should be only about him but somehow the writer included the rise and fall of the Wadias in it, alongside the Independence movement, and the resurgence of female prime ministers in the region, which she believes was the result of the Nadia effect. However, she compensated for that with the interviews of all those who had been part of Nadia’s career and had seen her achieve impossible feats without the help of stunt coordinators. On the whole, this biography should be in every film buff’s collection because it tells them that whatever is happening in films today wouldn’t have been possible had a certain Nadia not been fearless.
By Danya Ali KARACHIRise of Empires: Ottoman, which debuted on Netflix back in 2020, gave a clear and fascinating overview of the Ottoman Empire and Mehmed II's conquering Constantinople and winning the title of the Sultan.
Season 2 is set 8 years after season 1 and depicts the conflict between Mehmed's Ottoman Empire and Vlad the Impaler's Wallachian army, as the subtitle says "Mehmed vs Vlad".
Over the course of the six episodes, the typical mix of talking head narration is weaved around the re-enactments, with a hearty dose of mystery and action tossed in for good measure. I was not ready to watch the entire season, but
magnificent swordfights and troops writhing on a hellish field made me stick throughout the six episodes.
Story
In season II, it’s 1461, and Constantinople has become Istanbul. Mehmed II is now the most influential leader in the East and the most dreaded one in the West. He is seen preparing to conquer Europe and has been plotting his next campaigns against the West. But here comes the twist; he ran into a rival who is more powerful than him – Vlad Dracula.
Vlad Dracula gained the assistance of Hungarians, by promising to assassinate Mehmed II and overthrow his realm. In Mehmed II's empire, word of his allegations quickly spread like wildfire. Who
was Dracula, and did he succeed in bringing down Mehmed II, a legendary general? This is why you need to watch the Rise of Empires: Ottoman this weekend.
Who was Vlad Dracula?
By now, you would have understood that season 2 is about the battle between Mehmed II and Vlad Dracula. But who was Vlad?
Dracula was raised in the Ottoman Empire. When he was a child, his father was the ruler of the vassal state of Wallachia. The state owed its loyalty to the Sultan, but, Mehmed II's father (Murad II) questioned Vlad Dracula's father's loyalty. So to prove his commitment to the great Sultan, Vlad and his brother Radu were incarcerated in the Ottoman Empire.
The season portrays Vlad and Radu's childhood in such a way that one feels sorry for them. Vlad kept reminding himself that he was a hostage in the Ottoman Empire, which ignited his hatred toward Mehmed II. He hated the Ottoman Empire all his life and for all the right reasons because he thought Sultan Murad II shattered his family.
Good, Bad, and the rest
Strong rivalries will keep you hooked
I'll be completely honest: I really enjoyed the first season of this show. In my opinion, it was a strong drama based on real historical events. So I had really high hopes for the second season.
This time, you will love the characters more than the story. The actors deliver outstanding performances and that will keep you hooked on the story from beginning to end. All of the characters are great, but no one comes near the antagonist, who is a strong or devious person who will do anything to overthrow Sultan Mehmet.
As a viewer, you will be invested in this drama until the very end because of the intense rivalries. You will be curious to see how the on-going conflict between these two strong characters plays out.
Narration and stretched storyline are
major turn down
Like season 1, we heard a lot of narrations to explain historical events. Compared to season 1, the second season of "Rise of Empires: Ottoman" felt dragged and quite slow. Additionally, season one's stories were more complex and intriguing than this season.
Season 2 mostly focuses on the fights between Sultan Mehmed II and Vlad Dracula, in contrast to season one, which mainly concentrates on Mehmed's childhood and development. It feels less educational and more like a fictionalised version of real history. We don't get to see much of Vlad's childhood.
Final Verdict: 7/10
If you prefer historical dramas and enjoyed Rise of Empires: Ottoman Season 1, watch Season 2 to see how Mehmed II and Vlad's feud played out. Although the plot was wrapped up this way, even if season 3 doesn't show up, the season 2 plot is complete. You won't have to wait for season 3, but if the show's makers want to, they can simply make a season about the fascinating history of the Ottoman Empire.
The Rise of Empires: Ottoman Season
2 depicts the conflict between Mehmed's Ottoman Empire and Vlad the Impaler's Wallachian army
BY Bold Desk Taylor Marie Hill, aged 26, is currently one of the leading American models. A Pisces by her birth sign, she was born on March 5, 1996 in Illinois, and raised in Colorado where she graduated at the age of 16 from a public secondary school. Before becoming a model, Taylor Hill was a gymnast and began her modelling career in 2013 for Intimissimi, an Italian clothing label, at an early age when she was merely 16. Two of her siblings, namely Chase and Mackinley are also models.
Having appeared on the cover of Vogue magazine, Taylor Hill is a former Victoria's Secret Angel and appeared in its annual fashion shows from 2014 to 2018. She has worked for various leading fashion brands such as Carolina Herrera, Michael Kors, and Ralph Lauren. She has also appeared in many of the world’s top fashion and lifestyle magazines, including Harper's Bazaar and Elle. She has done many print campaigns for a lifestyle and fast-fashion retailing brand, Forever 21.
In 2015, she won "Model of the Year" at Fashion Media Awards, and in the same year, she was also voted "2015's Most Promising Model" by Couturesque's readers. In 2016, she was declared by Forbes as one of the world's top-earning models, with estimated earnings of $4 million.
The Germany-born model was among a handful of women whose looks and style catapulted them to a global fame
AFP
Tatjana Patitz, one of the original supermodels who dominated fashion in the 1980s and 90s commanding huge payouts for photoshoots, died last week. She was 56.
The Germany-born Patitz was among a handful of women of the era whose looks and style catapulted them to a global fame that transcended modelling.
Corinne Nicolas, founder of The Model CoOp, a Manhattan-based agency told media that Patitz died last
Wednesday in California. Nicolas told media Patitz had been ill, but gave no further details.
Along with Christy Turlington, Linda Evangelista, Naomi Campbell and Cindy Crawford, Patitz appeared in the smouldering video to George Michael's 1990 hit "Freedom!"
That came after photographer Peter Lindbergh captured Turlington, Evangelista, Patitz and Estelle Lefebure, Karen Alexander and Rachel Williams in a picture titled "White Shirts: Six Supermodels, Malibu." Vogue magazine said despite the elite
professional company she kept, Patitz had always seemed separate from other supermodels.
"There was a certain element of mystery to Patitz's beauty, something in the gentle oval of her face and the shape of her eyes that spoke of selfpossession and passion," the magazine wrote.
"Patitz's allure was womanly and knowing, not that of the wide-eyed ingenue, and with her training as an actor, she was a force to be reckoned with," it said.
Born in Hamburg, Patitz moved with
her Estonian mother and German father to a small Swedish town at an early age. Her break in modelling came in 1983 when she won a trip to Paris and a limited term contract.
She later settled in California, where she was photographed in recent years around her ranch near Santa Barbara with her son, Jonah.
The Twitter account for Lindbergh's foundation paid tribute to Patitz.
"We would like to salute Tatjana's kindness, inner beauty and outstanding intelligence....She will be immensely missed."
By BOLD Desk
By Asra Ali
