October 29, 2021

āĻļā§āϰ⧀āϜāĻžāϤ

āĻšāĻŋ⧟āĻž āϟ⧁āĻĒāϟāĻžāĻĒ, āϜāĻŋ⧟āĻž āύāĻ¸ā§āϟāĻžāϞ: āĻĒāĻ°ā§āĻŦ ā§Ž

āĻŦāĻĄāĻŧ āĻšāϝāĻŧ⧇ āϝāĻ–āύ āϏāĻŽāĻ¸ā§āϤ āĻšā§ˆāĻŽāĻ¨ā§āϤ⧀ āĻŽāύāϕ⧇āĻŽāύ⧇āϰ āϜāĻ¨ā§āϝ⧇ āĻœā§€āĻŦāύāĻžāύāĻ¨ā§āĻĻāϕ⧇ āĻĻā§‹āώāĻžāϰ⧋āĻĒ āĻ•āϰ⧇āĻ›āĻŋ, āϤāĻ–āύ āφāϏāϞ⧇ āĻļā§‚āĻ¨ā§āϝāϤāĻžāϕ⧇ āĻāĻĄāĻŧāĻŋāϝāĻŧ⧇ āϚāϞāϤ⧇āχ āĻšā§‡āϝāĻŧ⧇āĻ›āĻŋ āϕ⧋āĻĨāĻžāĻ“āĨ¤ āĻšā§‡āϝāĻŧ⧇āĻ›āĻŋ, āϕ⧇āω āĻāϏ⧇ āĻāχ āĻŦā§āϝāĻžāĻ–ā§āϝāĻžāĻšā§€āύ āύāĻŋāσāĻ¸ā§āĻŦāϤāĻžāϰ āĻĻāĻžāϝāĻŧ āύāĻŋāĻ•, āϕ⧇āω āĻāϏ⧇ āφāĻŽāĻžāϰ āĻšāĻžāϤ āĻĨ⧇āϕ⧇ āĻ•āĻžāρāϧ⧇ āϤ⧁āϞ⧇ āύāĻŋāĻ• āĻāχ āĻ…āĻ°ā§āĻĨāĻšā§€āύ āωāĻĻāĻžāϏ⧀āύāϤāĻžāϰ āĻ•ā§āϰ⧁āĻļāĨ¤ āĻšā§‡āĻŽāĻ¨ā§āϤ⧇āϰ āĻāĻ•āĻžāϕ⧀āĻ¤ā§āĻŦāĨ¤

āĻ…āύ⧁āĻĒāĻŽ āϰāĻžā§Ÿ

āĻ•ā§āϝāĻžāϏ⧇āϟ āĻ•āĻĨāĻž: āĻĒāĻ°ā§āĻŦ ā§§ā§Ļ

āĻĄāĻžā§ŸāĻžāϰ āĻ¸ā§āĻŸā§āϰ⧇āϟāϏ āĻŦā§āϝāĻžāĻ¨ā§āĻĄā§‡āϰ āĻ—āĻžāύ āĻļ⧁āύ⧇ āφāĻŽāĻŋ āĻāĻ•āϜāύ⧇āϰāχ āφāĻ¨ā§āϧāĻ­āĻ•ā§āϤ āĻšā§Ÿā§‡ āωāϠ⧇āĻ›āĻŋāϞāĻžāĻŽ, āĻŽāĻžāĻ°ā§āĻ• āύāĻĢāϞāĻžāϰāĨ¤ āϤāĻžāρāϰ āĻ—āĻŋāϟāĻžāϰ āĻŦāĻžāϜāĻžāύ⧋āϰ āύāĻŋāϜāĻ¸ā§āĻŦ āĻāĻ•āϟāĻž āĻ¸ā§āϟāĻžāχāϞ āĻ›āĻŋāϞāĨ¤ āϤāĻŋāύāĻŋ āχāϞ⧇āĻ•āĻŸā§āϰāĻŋāĻ• āĻ—āĻŋāϟāĻžāϰ āĻŦāĻžāϜāĻžāϤ⧇āύ āĻšāĻžāϤ⧇ āφāϰ āĻŦāϞāϤ⧇āύ āϤāĻžāρāϕ⧇ āĻ…āύ⧁āϏāϰāĻŖ āύāĻž āĻ•āϰāϤ⧇āĨ¤ āĻ āĻ…āϞ⧌āĻ•āĻŋāϕ⧇āϰ āϏāĻ¨ā§āϧāĻžāύ āĻĒ⧇āϞ⧇ āĻœā§€āĻŦāύ⧇ āĻŽā§āĻ—ā§āϧāϤāĻž āĻ•āĻŋāϛ⧁ āĻŦ⧇āĻĄāĻŧ⧇ āϝāĻžā§ŸāĨ¤ āĻ“āĻĻ⧇āϰ āĻ—āĻžāύ⧇āϰ āφāĻŦ⧇āĻļ āϘāĻŋāϰ⧇ āĻ¨ā§‡ā§Ÿ āĻ›āĻžāĻ¤ā§āϰāĻœā§€āĻŦāύāϕ⧇āĨ¤ āφāĻŽāĻžāϰ āĻ…āĻ¨ā§āϝāϤāĻŽ āĻĒā§āϰāĻŋ⧟ āĻĒā§āϰāĻ­āĻžāĻŦ, āĻĄāĻžā§ŸāĻžāϰ āĻ¸ā§āĻŸā§āϰ⧇āϟāϏāĨ¤

āĻ…āĻ°ā§āĻ• āĻĻāĻžāĻļ (Arka Das)

Khuchro Khaabar: Part 2

‘Delightful as it may be to after-party epicures in Soho or Manhattan and despite a zillion cookery channels on YouTube directing you towards healthier ‘home-made’ versions, the Egg Roll has been the middle-class office-goer’s savior for decades.’ A paean to the Egg Roll.

āϜ⧟ āĻ…āĻ°ā§āϜ⧁āύ āϏāĻŋāĻ‚āĻš (Jay Arjun Singh)

All about curio value

‘…The result was a remarkably schizophrenic film titled Jallian Wala Bagh, completed in 1977 but released in 1987 after many starts and stops – and promptly sinking out of sight.’ On Hrishikesh Mukherjee’s unfinished film on the Udham Singh story and a later take on the same.

āύ⧀āϞāĻžāĻžā§āϜāύ āĻŦāĻ¨ā§āĻĻā§āϝ⧋āĻĒāĻžāĻ§ā§āϝāĻžā§Ÿ

āĻļāĻžāĻ¨ā§āϤāĻŋāύāĻŋāϕ⧇āϤāύ āĻĄāĻžā§Ÿā§‡āϰāĻŋ: āĻĒāĻ°ā§āĻŦ ⧝

āĻŦā§āϰāĻžāĻšā§āĻŽ āĻ­āĻžāĻŦāϧāĻžāϰāĻžā§Ÿ āĻĻā§€āĻ•ā§āώāĻŋāϤ āĻŽāĻšāĻ°ā§āώāĻŋ āĻĻ⧇āĻŦ⧇āĻ¨ā§āĻĻā§āϰāύāĻžāĻĨ āĻļāĻžāĻ¨ā§āϤāĻŋāύāĻŋāϕ⧇āϤāύ āφāĻļā§āϰāĻŽā§‡ āĻŽā§‚āĻ°ā§āϤāĻŋ āĻ…āĻĨāĻŦāĻž āĻŦā§āϝāĻ•ā§āϤāĻŋāĻĒā§‚āϜāĻžāϰ āĻŦāĻŋāϰ⧁āĻĻā§āϧ⧇ āĻŽāϤ āĻĻāĻŋā§Ÿā§‡ āĻ—āĻŋā§Ÿā§‡āĻ›āĻŋāϞ⧇āύāĨ¤ āĻļāĻžāĻ¨ā§āϤāĻŋāύāĻŋāϕ⧇āϤāύ⧇ āϤāĻžāχ āϤāĻžāϰ āĻĒā§āϰāϤāĻŋāĻˇā§āĻ āĻŋāϤāĻž-āφāϚāĻžāĻ°ā§āϝ⧇āϰ āϕ⧋āύāĻ“ āĻŽā§‚āĻ°ā§āϤāĻŋāĻ“ āĻšā§‹āϖ⧇ āĻĒā§œā§‡ āύāĻž, āϝāĻžāϰ āϏāĻžāĻŽāύ⧇ āύāϤāϜāĻžāύ⧁ āĻšā§Ÿā§‡ āϤāĻžāρāϰ āĻŦāĻ¨ā§āĻĻāύāĻž āĻ•āϰāĻž āϝāĻžā§ŸāĨ¤ āĻ¸ā§āĻŽā§ƒāϤāĻŋ āωāĻĻāϝāĻžāĻĒāύ⧇āϰ āĻŦāĻŋāώāĻžāĻĻ, āφāύāĻ¨ā§āĻĻ āĻ“ āĻ¸ā§āĻŦāĻžāϧ⧀āύāϤāĻžāĨ¤

āψāĻĒā§āϏāĻŋāϤāĻž āĻšāĻžāϞāĻĻāĻžāϰ

āĻ•ā§Ÿā§‡āĻ•āϟāĻŋ āĻ•āĻŦāĻŋāϤāĻž

āĻāχ āĻŦāϞ⧇ āφāύāĻžāϜ āĻĒā§āϰāĻ•ā§ƒāϤāĻžāĻ°ā§āĻĨ⧇ āĻŦāĻŋāĻŽā§‚āĻĸāĻŧ/
āφāϰ āĻ“āχāĻĒāĻžāĻļ⧇ āĻāĻ•āĻžāϕ⧀ āĻļā§‚āĻ•āϰ āĻ–āĻžāρāϚāĻžāϰ āĻŽāĻ§ā§āϝ⧇ āĻŦāϏ⧇ āφāϛ⧇
āĻŦāĻŋāĻŽā§‚āĻĸāĻŧ āϏ⧇āĻ“/ āϰ⧂āĻĸāĻŧāϤāĻž āĻāĻ• āϧāϰāύ⧇āϰ āϤāĻŋāĻ•ā§āϤ āĻ•āώāĻž āĻĢāϞ⧇āϰ āύāĻžāĻŽ/
āϝāĻž āĻ…āĻ˛ā§āĻĒ⧇ āĻ…āĻ˛ā§āĻĒ⧇ āĻ—āϞāĻž āĻŦāĻ¨ā§āϧ āĻ•āϰ⧇ āĻĻ⧇āϝāĻŧāĨ¤ āύāϤ⧁āύ āĻ•āĻŦāĻŋāϤāĻž

āϰ⧇āĻļāĻŽ āĻŽāϜ⧁āĻŽāĻĻāĻžāϰ (Reshom Majumdar)

āϞāĻ¨ā§āĻĄāύ⧇ āĻŦāĻžāĻ™āĻžāϞāĻŋāϰ ‘āϚ⧌āϰāĻ™ā§āĻ—āĻŋ’

āĻĒāϰ⧇āϰ āĻ•āϝāĻŧ⧇āĻ• āϘāĻ¨ā§āϟāĻž āĻ¸ā§āϰ⧇āĻĢ āĻ–āĻžāĻŦāĻžāϰ⧇āϰ āύ⧇āĻļāĻžāϝāĻŧ āĻŦ⧁āρāĻĻ āĻšāϝāĻŧ⧇ āĻĨāĻžāĻ•āĻžāĨ¤ āĻĒāĻžāϞāĻ‚ āĻļāĻžāϕ⧇āϰ āĻ­āĻžāϜāĻžāϟāĻŋ āϏāĻŦāĻžāϰāχ āĻĒā§āϰāĻŋāϝāĻŧ āĻšāϝāĻŧ⧇ āωāĻ āϞāĨ¤ āĻŦāĻžāĻ™āĻžāϞāĻŋāĻĻ⧇āϰ āϕ⧋āύāĻ“ āĻ–āĻžāĻŦāĻžāϰ āĻ­āĻžāϞ āϞāĻžāĻ—āϞ⧇āχ āϤāĻžāϰāĻž āĻļāĻŋāĻ—āĻ—āĻŋāϰāĻŋ āϝ⧇ āϝāĻžāϰ āύāĻŋāĻœā§‡āϰ āϰāĻžāĻ¨ā§āύāĻžāϘāϰ⧇ āϤāĻžāϰ āϰāĻšāĻ¸ā§āϝāϭ⧇āĻĻ āĻ•āϰ⧇ āĻĢ⧇āϞ⧇āĨ¤ āϞāĻ¨ā§āĻĄāύ⧇āϰ ‘āϚ⧌āϰāĻ™ā§āĻ—āĻŋ’ āϰ⧇āĻ¸ā§āϤ⧋āϰāĻžāρāϰ āϏāĻŽāĻžāϞ⧋āϚāύāĻžāĨ¤

āωāĻĒāϞ āϏ⧇āύāϗ⧁āĻĒā§āϤ

āĻ…ā§āϝāĻžāĻŦāϰāĻž āĻ•āĻž āĻĨā§āϝāĻžāĻŦ⧜āĻž ā§Šā§Ŧ

āĻ•āĻĨāĻž āĻĨāĻžāĻ•āĻŦ⧇ āύāĻž, āĻļ⧁āϧ⧁ āĻ›āĻŦāĻŋāĨ¤ āĻŽāĻžāύ⧇ āĻ•āĻžāĻ°ā§āϟ⧁āύ, āĻŦā§āϝāĻ™ā§āĻ—āϚāĻŋāĻ¤ā§āϰāĨ¤ āĻ…āĻŦāĻļā§āϝ āĻļ⧁āϧ⧁ āĻŦā§āϝāĻ™ā§āĻ— āϕ⧇āύ, āĻĨāĻžāĻ•āĻŦ⧇ āĻšāĻŋāĻšāĻŋ, āĻ–āĻŋāϞāĻ–āĻŋāϞ, āĻ ā§‹āρāϟ āϟāĻŋāĻĒ⧇ āĻŽā§āϚāĻ•āĻŋ, āĻāĻ•āϞāĻž āĻĻā§‹āĻ•āϞāĻž āĻĢā§‹āĻ•āϞāĻž āĻšāĻžāϏāĻŋāĨ¤ āĻŦā§āϝāĻ™ā§āĻ—āϚāĻŋāĻ¤ā§āϰ āĻ•āĻ–āύāĻ“ āĻšāĻŦ⧇ āĻŦāĻ™ā§āĻ—-āϚāĻŋāĻ¤ā§āϰ, āĻ•āĻ–āύāĻ“ āĻ¸ā§āϰ⧇āĻĢ āϤāĻŋāĻ°ā§āϝāĻ• āĻĻ⧃āĻļā§āϝāĨ¤ āϛ⧋āĻŸā§āϟ āĻĢā§āϰ⧇āĻŽ, āĻŦāĻŋāĻļāĻžāϞ āĻ•ā§āϝāĻžāύāĻ­āĻžāϏāĨ¤

āĻŦāĻŋāĻŽāϞ āĻŽāĻŋāĻ¤ā§āϰ

āĻŦāĻŋāύāĻŋāĻĻā§āϰ: āĻĒāĻ°ā§āĻŦ ā§Šā§Ģ

‘…āϗ⧁āϰ⧁āϰ āĻ•āĻžāϛ⧇ āĻāχ āĻŽāĻžāĻĻā§āϰāĻžāϜ āĻĨ⧇āϕ⧇ āĻĄāĻžāĻ• āĻ›āĻŋāϞ āψāĻļā§āĻŦāϰ⧇āϰ āφāĻļā§€āĻ°ā§āĻŦāĻžāĻĻ⧇āϰ āĻŽāϤ⧋āĨ¤ āϟāĻžāĻ•āĻž āĻĻāϰāĻ•āĻžāϰ āϤāĻžāϰ āĻ›āĻŋāϞ āύāĻž, āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻĻāϰāĻ•āĻžāϰ āĻ›āĻŋāϞ āφāϰ āĻāĻ•āϟāĻž āϜāĻŋāύāĻŋāϏ⧇āϰāĨ¤ āϏ⧇āϟāĻžāχ āĻ›āĻŋāϞ āϤāĻžāϰ āĻŦ⧈āĻļāĻŋāĻˇā§āĻŸā§āϝ! āϏ⧇ āϚāĻžāχāϤ⧋ āĻĒāĻžāϞāĻžāϤ⧇āĨ¤’ āϏāĻ‚āϏāĻžāϰ āϝāĻ–āύ āĻŦāĻŋāώāĨ¤

āϰ⧇āĻļāĻŽ āĻŽāϜ⧁āĻŽāĻĻāĻžāϰ (Reshom Majumdar)

Chourangi on London streets

‘‘Chourangi’ has been popping up in every dinner-party conversation, Pujo committee meeting, making its way into Facebook foodie groups and Instagram pages. Everyone knows the best dishes, everyone has someone who can get them a good table and indeed, everyone has become a brand custodian.’ The new London restaurant making waves.