December 11, 2021

āϏāĻžā§āϚāĻžāϰ⧀ āĻŽā§āĻ–ā§‹āĻĒāĻžāĻ§ā§āϝāĻžā§Ÿ

King’s Gambit

Viswanathan Anand, about whom no adjective is enough, talked to DaakBangla on several topics. India’s first Grandmaster, the five-time world champion commented on how chess can be popularised, how the gender gap in chess can be bridged, how mobile phones (or a Netflix series) can attract young minds to chess, and how this is the best time to choose chess as a career.

āĻĄāĻžāĻ•āĻŦāĻžāĻ‚āϞāĻž.āĻ•āĻŽ

āϏāĻžāĻ•ā§āώāĻžā§ŽāĻ•āĻžāϰ: āϏ⧂āĻ°ā§āϝāĻļ⧇āĻ–āϰ āĻ—āĻžāĻ™ā§āϗ⧁āϞāĻŋ

āĻŦāĻŋāĻļā§āĻŦāύāĻžāĻĨāύ āφāύāĻ¨ā§āĻĻ-āĻāϰ āϏāĻ™ā§āϗ⧇ āϖ⧇āϞāĻžāϰ āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻž āϤāĻžāρāϰ āĻ•āĻžāϛ⧇, ‘āĻœā§āĻžāĻžāύāϚāĻ•ā§āώ⧁ āĻ–ā§‹āϞāĻžāϰ āĻŽāĻ¤ā§‹â€™āĨ¤ āϤāĻŋāύāĻŋ āĻĒāϰ āĻĒāϰ āϤāĻŋāύ āĻŦāĻ›āϰ āφāύāĻ¨ā§āĻĻ-āĻāϰ ‘āϏ⧇āϕ⧇āĻ¨ā§āĻĄâ€™āĻĻ⧇āϰ āĻĻāϞ⧇āĻ“ āĻ›āĻŋāϞ⧇āύāĨ¤ āϕ⧇āĻŽāύ āĻ›āĻŋāϞ āϏ⧇āϏāĻŦ āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻž? āĻŦāĻŋāĻļā§āĻŦāύāĻžāĻĨāύ āφāύāĻ¨ā§āĻĻ-āĻāϰ ā§Ģā§§āϤāĻŽ āϜāĻ¨ā§āĻŽāĻĻāĻŋāύ⧇ āϤāĻžāρāϰ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āĻ•āĻŋāϛ⧁ āĻŦā§āϝāĻ•ā§āϤāĻŋāĻ—āϤ āĻ¸ā§āĻŽā§ƒāϤāĻŋ āĻāĻŦāĻ‚ āĻ…āύ⧁āĻ­āĻŦ⧇āϰ āĻ•āĻĨāĻž āϜāĻžāύāĻžāϞ⧇āύ āφāϰ āĻāĻ• āĻ—ā§āĻ°ā§āϝāĻžāĻ¨ā§āĻĄāĻŽāĻžāĻ¸ā§āϟāĻžāϰ āϏ⧂āĻ°ā§āϝāĻļ⧇āĻ–āϰ āĻ—āĻžāĻ™ā§āϗ⧁āϞāĻŋāĨ¤

āĻĻ⧇āĻŦāĻžāĻļāĻŋāϏ āĻŦāĻŋāĻļā§āĻŦāĻžāϏ

āĻ…āĻ­āĻŋāϝāĻžāύ āϕ⧇āĻŦāϞ āĻ…ā§āϝāĻžāĻĄāϭ⧇āĻžā§āϚāĻžāϰ āύāϝāĻŧ

‘āĻĒāĻ°ā§āĻŦāϤāĻžāϰ⧋āĻšāĻŖ āϖ⧁āĻŦāχ āĻā§āρāĻ•āĻŋāĻĒā§‚āĻ°ā§āĻŖ āĻāĻ• āϖ⧇āϞāĻžāĨ¤ āĻŦāĻŋāĻĒāĻĻ⧇āϰ āφāĻļāĻ™ā§āĻ•āĻž āĻāĻ–āĻžāύ⧇ āĻĒā§āϰāϤāĻŋ āĻĒāĻĻ⧇āĨ¤ āϏāĻžāĻĢāĻ˛ā§āϝ āφāϰ āĻŦā§āϝāĻ°ā§āĻĨāϤāĻžāϰ āĻŽāĻžāĻā§‡āϰ āĻĢāĻžāρāĻ• āĻāĻ–āĻžāύ⧇ āϖ⧁āĻŦāχ āϏāĻžāĻŽāĻžāĻ¨ā§āϝāĨ¤ āϖ⧁āĻŦāχ āϤ⧁āĻšā§āĻ› āĻ•āĻžāϰāϪ⧇ āϕ⧋āύāĻ“ āĻ…āĻ­āĻŋāϝāĻžāύ āĻŦāĻžāϤāĻŋāϞ āĻ•āϰ⧇ āĻĢāĻŋāϰ⧇ āφāϏāϤ⧇ āĻšāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤ āϤāĻž āϏ⧇ āĻ—ā§āϝāĻžāϏ āĻ¸ā§āĻŸā§‹āĻ­ āĻŦāĻŋāĻ—āĻĄāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻž āĻšā§‹āĻ• āĻ•āĻŋāĻ‚āĻŦāĻž āϤāĻžāρāĻŦ⧁āϰ āϕ⧋āύāĻ“ āĻĒā§‹āϞ āĻŦāĻž āĻ¸ā§āϟāĻŋāĻ• āϭ⧇āϙ⧇ āϝāĻžāĻ“āϝāĻŧāĻžāĨ¤â€™ āĻĒāĻ°ā§āĻŦāϤāĻžāϰ⧋āĻšāϪ⧇āϰ āϖ⧁āρāϟāĻŋāύāĻžāϟāĻŋāĨ¤

āĻ…ā§āϝāĻžāĻ¨ā§āĻĄā§āϰ⧁ āϰāĻŦāĻŋāύāϏāύ (Andrew Robinson)

Satyajit Ray and his French Connection

On the occasion of the Bagri Foundation London Indian Film Festival screening of ‘Pather Panchali’ at CinÊ Lumière, Satyajit Ray ’s long-time biographer Andrew Robinson gave a lecture on the directors connection to France.

āĻ…āĻ°ā§āĻ• āĻĻāĻžāĻļ (Arka Das)

āĻāĻ• āύāĻžāϝāĻŧāϕ⧇āϰ āĻ–ā§‹āρāĻœā§‡

āϏāĻžāϝāĻŧāύāĻĻ⧇āĻŦ āϚ⧌āϧ⧁āϰ⧀āϰ āĻĒā§āϰāĻĨāĻŽ āĻŦāχ ‘Uttam Kumar: A Life In Cinema’āĨ¤ āĻĒā§āϰāĻžāϝāĻŧ āĻĻ⧇āĻĄāĻŧ āĻĻāĻļāϕ⧇āϰ āϚāĻŋāĻ¨ā§āϤāĻž, āĻāĻŦāĻ‚ āĻ›āϝāĻŧ āĻŦāĻ›āϰ⧇āϰ āĻ•āĻŋāϛ⧁ āĻŦ⧇āĻļāĻŋ āĻ—āĻŦ⧇āώāĻŖāĻžāϝāĻŧ āĻ‹āĻĻā§āϧ āĻāχ āϞ⧇āĻ–āĻžāĨ¤ āĻāχ āĻŦāχāϝāĻŧ⧇ āĻŦāĻžāĻ‚āϞāĻž āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻĒā§āϰāĻĨāĻŽ āĻāĻŦāĻ‚ āĻļ⧇āώ āĻŽāĻšāĻžāϤāĻžāϰāĻ•āĻžāϰ āĻāĻŽāύ āĻāĻ• āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ-āĻœā§€āĻŦāύ āĻĒā§āϰāĻ•āĻžāĻļāĻŋāϤ āĻšāϝāĻŧ⧇āϛ⧇, āϝāĻž āĻāϰ āφāϗ⧇ āϏāĻŽā§āĻ­āĻŦāϤ āĻ•āĻ–āύāĻ“ āĻ āĻ­āĻžāĻŦ⧇ āĻĻ⧇āĻ–āĻž āĻšāϝāĻŧāύāĻŋ, āĻŦāĻŋāĻļā§āϞ⧇āώāĻŖ āĻ•āϰāĻž āĻšāϝāĻŧāύāĻŋ āχāϤāĻŋāĻšāĻžāϏ⧇āϰ āĻĒāϟāĻ­ā§‚āĻŽāĻŋāĻ•āĻžāϝāĻŧāĨ¤ āĻ•āĻĨā§‹āĻĒāĻ•āĻĨāύ⧇ āϏāĻžāϝāĻŧāύāĻĻ⧇āĻŦāĨ¤

āĻĄāĻžāĻ•āĻŦāĻžāĻ‚āϞāĻž.āĻ•āĻŽ

A Sportsperson and a Gentleman

‘When Anand started playing, he had no benchmark whatsoever in India. We only had one or two International Masters – he was India’s first Grandmaster. He was first of and in basically everything. Not just that. He rose out of nowhere and completely dominated that world at a time when the Soviets were ruling.’ Surya Shekhar Ganguly speaks on his friend, mentor and icon, Viswanathan Anand

āωāĻĒāϞ āϏ⧇āύāϗ⧁āĻĒā§āϤ, āϚāĻ¨ā§āĻĻā§āϰāĻŋāϞ āĻ­āĻŸā§āϟāĻžāϚāĻžāĻ°ā§āϝ

āĻāĻ•āϟāĻž āĻ—āĻ˛ā§āĻĒ āĻāĻ•āϟāĻž āĻ—āĻžāύ: āĻĒāĻ°ā§āĻŦ ā§§ā§Ļ

āĻ—āĻžāύ⧇ āĻ•āĻžāĻ¨ā§āύāĻž-āϏāĻŋāϞāĻŋāĻ¨ā§āĻĄāĻžāϰ āωāĻ āϛ⧇, āĻāĻŦāĻ‚ āϏāĻžāĻŽāύ⧇āϰ āĻĒāĻžāĻ°ā§āϕ⧇ āχāωāĻāĻĢāĻ“ āύāĻžāĻŽāϛ⧇āĨ¤ āφāϰ āĻ—āĻ˛ā§āĻĒ⧇, āĻœā§āϝāĻžāĻ• āφāϰ āϜāĻŋāϞ āĻĒāĻžāĻšāĻžāĻĄāĻŧ⧇āϰ āϚ⧁āĻĄāĻŧā§‹ āĻĨ⧇āϕ⧇ āϜāϞ āφāύāϤ⧇ āĻ—āĻŋāϝāĻŧ⧇, āĻšā§‹āρāϚāϟ āϖ⧇āϝāĻŧ⧇ āĻ—āĻĄāĻŧāĻŋāϝāĻŧ⧇ āĻāĻ•āĻĻāĻŽ āύ⧀āĻšā§‡ āĻĒāĻĄāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻžāϰ āĻĒāϰ, āϜāĻŋāϞ āϝāĻĻāĻŋ-āĻŦāĻž āωāĻ āϤ⧇ āĻĒāĻžāϰ⧇, āĻœā§āϝāĻžāĻ• āĻ•āĻŋāϛ⧁āϤ⧇āχ āφāϰ āĻĒāĻžāϰ⧇ āύāĻžāĨ¤ āϤāĻžāϰ āϕ⧋āĻŽāϰ āϭ⧇āϙ⧇ āϗ⧇āϛ⧇āĨ¤ āϤāĻžāĻšāϞ⧇ āϤāĻžāϰ āĻ­āĻžāĻ—ā§āϝāĻ“ āĻ•āĻŋ āϭ⧇āϙ⧇ āϗ⧇āϞ

āĻ–āĻžāύ āϰ⧁āĻšā§āϞ āϰ⧁āĻŦ⧇āϞ

āĻĸāĻžāĻ•āĻž āĻĄāĻžāϝāĻŧ⧇āϰāĻŋ: āĻĒāĻ°ā§āĻŦ ā§§ā§Ļ

‘āφāϜāĻŋāĻœā§‡ āϝ⧇āϟāĻž āϏāĻ‚āϕ⧁āϚāĻŋāϤ āĻšāϝāĻŧ⧇ āωāϠ⧇āϛ⧇ āϏ⧇āϟāĻž āĻšāĻšā§āϛ⧇ āφāĻĄā§āĻĄāĻžāĨ¤ āφāϗ⧇ āĻšāĻžāϤ-āĻĒāĻž āĻ›āĻĄāĻŧāĻŋāϝāĻŧ⧇ āϕ⧇āϤāĻžāĻŦāĻŋ āĻĻ⧁āϰāĻ¸ā§āϤ⧇āϰ āϧāĻžāϰ āύāĻž āϧ⧇āϰ⧇āĻ“ āĻāĻ–āĻžāύ⧇-āϏ⧇āĻ–āĻžāύ⧇ āĻŦāϏ⧇ āϏ⧁āĻŦāĻŋāϧāĻžāĻŽāϤ⧋ āφāĻĄā§āĻĄāĻž āĻĻ⧇āĻ“āϝāĻŧāĻž āϗ⧇āϛ⧇āĨ¤ āĻāĻ–āύ āϏ⧇āϏāĻŦ āϜāĻžāϝāĻŧāĻ—āĻž āϏāĻ‚āϕ⧁āϚāĻŋāϤ, āĻĢāϞ⧇ āφāĻĄā§āĻĄāĻžāĻ“ āĻŽā§āϰāĻŋāϝāĻŧāĻŽāĻžāύāĨ¤ āφāĻĄā§āĻĄāĻž āĻāĻ–āύ āĻŦāϏāϛ⧇ āĻŦ⧁āĻ• āĻ•ā§āϝāĻžāĻĢ⧇āϤ⧇āĨ¤â€™ āĻŦāĻ‡ā§Ÿā§‡āϰ āĻĻā§‹āĻ•āĻžāύ⧇āϰ āφāĻĄā§āĻĄāĻžāĨ¤

āĻļā§āϰ⧀āϜāĻžāϤ

āĻļ⧁āϧ⧁ āĻ•āĻŦāĻŋāϤāĻžāϰ āϜāĻ¨ā§āϝ: āĻĒāĻ°ā§āĻŦ ā§§ā§Ļ

‘āĻ›āϞāύāĻž āĻŦā§āϝāĻžāϧ⧇āϰ āϏāĻ™ā§āĻ—ā§€āĨ¤ āϝ⧇āϰāĻ•āĻŽ āϰ⧁āĻŽāĻžāϞ, āϤ⧋āĻŽāĻžāϰāĨ¤/ āĻĢ⧇āϞ⧇ āĻ•āĻŦ⧇ āϗ⧇āĻ› āφāϰ āϤāĻžāϰāχ āϏ⧁āĻ—āĻ¨ā§āϧ⧇āϰ āĻœā§‡āϰ⧇ āφāĻŽāĻŋ/ āĻ-āĻļāĻšāϰ⧇ āĻŦāĻžāϏāĻž āύāĻŋāχāĨ¤ āφāϏāϞ⧇ āĻļāĻŋāĻ•āĻžāϰ āĻšāχ āϤāĻžāϰ…/ āϝ⧇-āύāĻŋāϜāϰāĻšāĻ¸ā§āϝ āύāĻŋāϝāĻŧ⧇ āφāϜāĻ“ āĻ…āϰāĻŖā§āϝ⧇āϰ āĻ…āύ⧁āĻ—āĻžāĻŽā§€āĨ¤â€™ āύāϤ⧁āύ āĻ•āĻŦāĻŋāϤāĻžāĨ¤

āĻ…āĻ°ā§āĻ• āĻĻāĻžāĻļ (Arka Das)

In Search of The Singular Nayak

‘What I was looking for, the new answers I was looking for – the modernity of his cinema, breakaway films, the difficulty placed on him as a star, the Atlas-like figure which is inevitably not good for a film culture – were really there in his films, not in any interview.’ Sayandeb Chowdhury on his debut book, ‘Uttam Kumar: A Life in Cinema’.