Latest news with #Bengali
Time of India
an hour ago
- Business
- Time of India
Amuse-bouche to mignardise: Celebrating the versatile aloo
Amuse-bouche: Mini baked potatoes Palate cleanser: Salted potato crisps Crispy French fries, creamy mashed potato, the everyday aloo gobi or the wholesome aloo ke parathe – the ubiquitous potato transcends cuisines, courses and cultures. On International Day of the Potato (May 30), how about celebrating the versatility of the humble spud with a delectable spread - from amuse-bouche to mignardise (pronounced mean-ya-deez, one-bite desserts usually served at the end of the meal)? On the versatility of potato, Chef Ishijyot Surri says, 'Different cultures around the world use potatoes in diverse ways. Potatoes can be boiled, fried, baked, or even mashed, and they absorb flavours beautifully. So, every culture has its own version of their recipes.' Adds Mikhail Shahani, chef, co-founder & product head at a biryani brand, 'In India, we are embracing regionality — Bengali aloo bharta with mustard oil is now making it to menus as a small plate or the Maharashtrian batata rassa elevated with smoked chilli oils. Traditional dishes like aloo dum are also being elevated with techniques like double-cooking or smoke infusion using mustard husks.' 'Globally, chefs are showcasing potatoes as the star while also intersecting it with sustainability. Chefs are creating hyper-seasonal potato dishes that rely less on imported ingredients and more on local biodiversity,' says Mikhail Shahani, chef, co-founder & product head at a biryani brand. Chef Vidhi Doshi adds, 'Potatoes are gaining gourmet level 'main character' energy. From Michelin star restaurants serving vada pav and dum aloo in genius ways to using different cooking techniques like sous vide, foam, confit, there's just so much potential with this versatile ingredient.' by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Giao dịch vàng CFDs với mức chênh lệch giá thấp nhất IC Markets Đăng ký Undo 'Beyond chips, fries, and aloo gobi' Experts believe that while potato is widely used across the world in different cuisines, the spud is making its presence felt in interesting gourmet dishes. 'In India, potatoes are being served with goat cheese or are rolled into sushi-style servings. Internationally, people are using Columbian heritage potatoes and making colourful potato foams or baking potato bread. Every chef has their own signature way of accentuating the flavour and texture of the product. Today, potatoes need not only be an accompaniment but can be showcased as the star of the dish,' shares chef Surri. Mignardise: Purple sweet potato tartlet Tips to upgrade your everyday potato fare Shepherd's pie to masala pie : Use spiced soy keema and a cumin-infused potato mash topping. Potato salad to chaat-style salad : Add tamarind chutney, sev, chaat masala, and fresh coriander. Croquettes to aloo tikki : Stuff with goat cheese and spiced Parsi keema. Desi gnocchi : Creamy makhani sauce or coconut curry can be used instead of the typical cheese or cream. You can also prepare a tadka of curry leaves, hing, mustard seeds, coriander and jeera in some curd and add the crispy gnocchi to it Hash browns with a desi twist : Add kasuri methi, green chillies, and fennel seeds. Potato salad: Try a yoghurt dressing with mustard seeds and curry leaves in place of mayo. Potato beverages ? Yes! 'Potatoes are entering the beverage space both as a starch base and a flavouring agent,' shares chef Mikhail, adding, 'Mixologists are now exploring potato-whey spirits, infused with botanicals.' Fermented kanji with purple potatoes adds visual appeal and probiotic benefits Potato milk, a new vegan alternative, is being paired with cardamom or cinnamon for sustainable lattes Potatoes bring body and a surprisingly clean mouthfeel to drinks There's a popular Swedish drink, which claims to be the world's first potato-based milk alternative. It can be used in cooking, baking, and as a beverage Beignets with sweet potato filling Enjoy potatoes guilt-free Sweet potatoes are slightly healthier than white potatoes because they pack more fibre and vitamin A, fueling energy and glowing skin. White potatoes offer potassium and vitamin C, supporting heart health. Choose sweet for antioxidants, white for versatility Nutrient-rich and satisfying, potatoes curb hunger when prepared wisely — think baked/steamed, not fried. Their fibre keeps you full, preventing overeating. Pair with veggies or lean protein for balance The biggest myth is that potatoes are 'unhealthy' or fattening. Potatoes are nutrient powerhouses — packed with vitamins, fibre, and energy. It's not the potato but the prep: frying or drowning in butter adds calories Love potatoes guilt-free by keeping it simple and wholesome. Use it twice or thrice a week either as a sabzi mixed with other veggies or you can even bake or roast with a drizzle of olive oil and herbs for flavour. Portion control is key — a medium potato is perfect - Inputs by Deepika Rathod, chief nutrition officer at a health and wellness centre One step to a healthier you—join Times Health+ Yoga and feel the change
Hindustan Times
an hour ago
- Entertainment
- Hindustan Times
Review: Soumitra Chatterjee and his World by Sanghamitra Chakraborty
A few weeks before the release of Apur Sansar (The World of Apu, 1959), directed by Satyajit Ray, Charlie Chaplin's Limelight was re-released in Calcutta (now Kolkata). A large hoarding in the city displayed the film's poster. The actor Soumitra Chatterjee, who was making his silver screen debut with Ray's film, would 'admire this larger-than-life poster as he passed the area' on his way to work, writes journalist Sanghamitra Chakraborty. 'One evening… unmindfully looking up to get a glimpse of the Limelight poster… he got the shock of his life.' Chaplin's face had been replaced by his own. 'It was a poster of Apur Sansar.' This remarkable debut launched Chatterjee into a career that would make him one of the most important actors of the 20th century. Chakraborty's deeply researched biography, Soumitra Chatterjee and his World, explores all these different aspects of his life and career. Through in-depth interviews with his family, friends and colleagues, archival research (including Chatterjee's personal journals) and an analysis of his work, Chakraborty creates a compelling portrait of a complicated human being. Instead of slipping into the morass of a hagiography, which is common with celebrity biographies in India, Chakraborty explores even the less-than-complimentary aspects of her subject's life, such as his extramarital affairs and some dubious career decisions. However, she does this with a sort of empathy that does not in any way diminish Chatterjee, instead revealing him to be only too human. Though Chatterjee has been the subject of several biographies already, it is perhaps safe to say that this book is by far the most detailed and engaging one yet. Future biographers or anyone commenting on Bengali cinema, will have to take it into serious account. Soumitra Chatterjee and his World is divided into 10 parts, each exploring different aspects of its subject's life, such as his family and early years outside Calcutta, his college and university education, his early days in theatre (under the tutelage of the notable thespian Sisir Kumar Bhaduri), his Coffee House friends and literary pursuits, his committed leftist politics and his relationship with this wife Deepa, a talented badminton player. A significant portion is, obviously, dedicated to his relationship with Ray. The author writes several accounts of how Chatterjee prepared for the different roles he played in Ray's films, such as a hot-headed taxi driver (Abhijan, 1962), an aspiring 19th-century writer (Charulata, 1964), a beleaguered village priest (Ashani Sanket, 1973) or a sharp private investigator (Sonar Kella, 1974 and Joy Baba Felunath, 1979). These chapters also bring out the differences between the two men. The book is full of anecdotes that might surprise even the most devoted cinephile. For instance, writing about why Chatterjee did not collaborate with Ritwik Ghatak, one of the most celebrated art house Bengali film directors in the 1960s, Chakraborty describes an incident when the actor and the director came to fisticuffs. Quoting from an interview of Chatterjee, Chakraborty describes a public meeting where Ghatak and Chatterjee were guests. Quite characteristically, Ghatak turned up inebriated and started abusing Ray. 'I did not get provoked since I did not hold a brief to defend Ray,' says Chatterjee. 'Maybe he got frustrated at my nonchalance and he threw a swear word at me.' Flying into a rage, Chatterjee held Ghatak by the collar and landed a blow on his face. From the vantage point of half a century, it is somewhat amusing to witness, through Chakraborty's narration, two revered figures of Bengali cinema engaging in such behaviour. Such incidents remain with the reader long after the book has been put away. Chakraborty also analyses Chatterjee's work with filmmakers like Tapan Sinha, Asit Sen, Ajoy Kar, Tarun Majumdar, Dinen Gupta and Saroj De, locating it within the specific context of Bengali cinema. The sharp writing provides context to the cinema of the 1930s-40s, which Chatterjee watched while growing up, as well as his contemporary films. She also relates Chatterjee's complex relationship to Bengali cinema's reigning heartthrob, Uttam Kumar. While Chatterjee was a self-proclaimed Uttam Kumar fan, there was also considerable rivalry between the two, especially during a period of labour unrest in the industry in the late 1960s, when they found themselves in opposing camps. Some of this owes a debt to film scholar Sharmistha Gooptu's history of the Bengali film industry, Bengali Cinema: An Other Nation (2011). Though Chakraborty quotes from Gooptu, the book under review would have benefitted from more engaged editing, which would have ensured more rigorous citations. The book could have also included Chatterjee's family tree, bringing out his exact relation with such illustrious figures as poet and film critic Sourindra Mohan Mukhopadhyay, singer Suchitra Mitra or the freedom activist Jatindranath Mukherjee, better known as Bagha Jatin. Perhaps, these will be addressed in the next edition. Much of the writing on Indian cinema, both scholarly and popular, has focused on Bollywood. Besides Gooptu's groundbreaking work, there is very little scholarship on Bengali popular cinema. Film scholars and historians writing on Bengali cinema have focused mostly on Ray or his art house contemporaries, Mrinal Sen and Ritwik Ghatak, or more recently, Rituparno Ghosh. Sayandeb Chowdhury's Uttam Kumar: A Life in Cinema and Maitreyee B Chowdhury's Uttam Kumar and Suchitra Sen: Bengali Cinema's First Couple are rare exceptions. Chakraborty's book, therefore, explores new ground. It will hopefully be an inspiration to more scholars and writers to examine the history of a remarkable film culture. Uttaran Das Gupta is an independent writer and journalist.
News18
6 hours ago
- Entertainment
- News18
Arjun Chakraborty Makes Hindi TV Debut With Supernatural Thriller Noyontara
Last Updated: Arjun Chakraborty's character of a brilliant physician, caught in the strange world of supernatural powers, is expected to add gravitas to Noyontara. After capturing hearts with compelling performances in Bengali films and TV shows, Arjun Chakraborty is now set to make his Hindi television debut. The actor will be seen playing Dr Shurjo in the upcoming supernatural thriller Noyontara. His character as a brilliant physician, caught in the strange world of supernatural powers, is expected to add gravitas to the mystical storyline of the show. Noyontara will premiere on Colors TV. In a recent chat with ETimes, Arjun Chakraborty shared his excitement for his Hindi television debut. The actor said, 'I've been fortunate to build a strong foundation in the Bengali industry and stepping into Hindi television felt like a big leap, and I wanted it to be for something special, worthwhile." Arjun also reflected on his character Dr Shurjo, in the upcoming Colors TV show, further in the conversation. He continued, 'Noyontara is unlike anything I've done before. My character Dr Shurjo, is a rational and logical man, someone who lives by science and reason, but suddenly, he finds himself surrounded by things that defy everything he's ever believed." Ask the actor about interesting elements of his character and he explains that it is how Dr Shurjo 'clings to what he knows, resists what he can't explain, his stubbornness and refusal to accept the supernatural." Arjun also admitted that the show's premise, set in Calcutta, makes it personal for him. Noyontara follows the story of a 23-year-old woman (played by Shruti Bhist), blessed with the ability to see spirits, bridging the gap between the living and the dead. She is married to Dr Shurjo who is still haunted by the guilt of the death of his former fiancée. Despite his disbelief in anything beyond science and facts, he is caught in a web of supernatural events as the spirit of his biological mother, dead long back, watches over him through Noyontara, protecting him from all the hurdles. As Dr Shurjo struggles with a loveless marriage while also confronting truths that have been hidden from him for a while, he begins to uncover dark secrets beyond his belief. Noyontara, with its intriguing plot and powerful cast, promises an emotional and thrilling journey with mystery, love and supernatural elements as its theme. First Published:
Time of India
6 hours ago
- Entertainment
- Time of India
'I miss my bondhu': Prosenjit Chatterjee remembers Rituparno Ghosh on his death anniversary
Prosenjit Chatterjee fondly remembers Rituparno Ghosh on his death anniversary, reflecting on their collaborations like 'Unnishe April' and 'Doshor,' which earned him a National Award. He acknowledges Ghosh's impact on his career and personal life, missing their close bond and the guidance he provided. Chatterjee also identifies Atanu Ghosh as a key inheritor of Rituparno Ghosh's cinematic legacy. On Rituparno Ghosh's death anniversary, actor Prosenjit Chatterjee opens up in an exclusive conversation with ETimes about their deep bond, cinematic milestones, and the emotional void left behind by the iconic filmmaker. From Unnishe April to Doshor, Prosenjit reflects on how Ritu shaped his journey as an actor — and as a friend. Excerpts... When did you first meet Rituparno Ghosh? I think the first time I met him was at Rinaji's (Aparna Sen's) place, long back. He was a boy with long curly hair, very young. Later on, of course, I came to know he was doing a film with Debashree Roy . I was just married; he came to my place for a narration. That is how your first collaboration Unnishe April happened? Suddenly, he told me if I could do a guest role in that particular film, which I never took seriously. It was a very different kind of film with a small role for me after my first film with Debashree (Purushottam). So I just took it very lightly. But once I worked with Rituda in Unnishe April, after the film got released—though I had just two or three scenes in the film, though I was a superstar at that time, and I was doing all mainstream stuff—people started writing such good words and something like, 'We have not seen Prosenjit in this way. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Promoções imperdíveis de voos baratos Voos | Anúncios de Pesquisa Saiba Mais Undo ' I think that gave me a very big kick. Among all your collaborations with Rituparno Ghosh, which do you think is the most important? Though all my films with him are superb, I think till today, people remember the film for which I got my National Award—and it was Doshor with Konkona Sen. I think that's the film people say I've done such a different kind of work in. And for me also, Doshor was one of those most challenging characters. I really wondered if I could do it. Ritu had made me—he really helped me to do that character. Who among the contemporary Bengali filmmakers are the true inheritors of Rituparno Ghosh's legacy? Every Bengali director of today's generation has a huge respect for Ritu—not only as a filmmaker, but his style and the way he used to tell the story. But of course, Atanu Ghosh, I think, is one of those directors who maintained a very different kind of cinema and carried forward Ritu's legacy. He is doing it very cautiously—not following Ritu's steps, I will say—but he has his own way of telling stories. Things have changed, and there's a more commercial consideration. But I think Atanu Ghosh has maintained that cinema which Ritu made, in the way he wants to do. And I still remember, when I used to ask Ritu who was his inheritor, he would say Atanu. Who else? There is Kaushik Ganguly—he is also a wonderful director. Srijit Mukherjee is also a great director. Everybody wants to do something. In fact, today, a trailer is going to be launched for a film dedicated to Ritu. I have to go just to bless them. They are dedicating this film to Rituparno Ghosh. So, and I'm going just as a friend. I was one of the closest friends of Ritu, apart from his directorial work, whatever we have done. Normally, I don't talk about Ritu, because he was my closest. I don't want to talk about Soumitra Kaku (Chatterjee) again, because I really feel sad. I don't want to believe that they are not in this world. I really miss Soumitra Kaku also—the same as Ritu. Soumitra Kaku was my father figure, like, he was my—my, I will say—guide. He was my inspiration. We all miss Rituparno Ghosh? I mean, honestly speaking, what I really miss after Ritu left me is that I don't have a place where I can go and open up. Like, you know, everybody is senior to me, or they're much younger to me. So I've become a father figure now. Ritu used to be somebody I could go to for guidance. He was a true friend. He was my ghar ka dost. Ritu made Chokher Bali long back, and that was a pan-India film. He practically helped me reinvent myself as an actor. I miss my Bondhu. Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . Don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .
Indian Express
8 hours ago
- Entertainment
- Indian Express
‘My paan shop is also my writing desk': Meet Pintu Pohan, Bengali author of over 200 works
Written by Adrija Datta In the heart of Behala's Madanmohan Tala, amid the hum of traffic and chatter, stands a small paan shop with an extraordinary tale. Behind its humble counter is 47-year-old Pintu Pohan — a prolific Bengali writer whose literary achievements have defied poverty, social ridicule, and years of struggle. In 1998, with Rs 1,500 in savings, he set up his paan shop which would become both his livelihood and his writing desk. While serving customers over the years, he managed to write 12 novels and over 200 short stories and poems. While ten of his books have been published, eight of them are children's storybooks. His works have been published in some of West Bengal's most respected magazines, including Desh, Anandamela, Anandabazar, Sananda, Suktara, and Nabakallol. 'I used to send my stories to various publications but it took 15 years of continuous struggle for my first writing to get noticed. Then the rest followed.' His love for literature took root when he was in Class IV. But being born into a family of daily wage earners, financial hardship forced him to abandon formal education after joining Jogesh Chandra College. 'I have done everything; from selling fish and flowers to working as a mason and an electrician,' said Pohan, who earned as little as Rs 30 – Rs 60 a day in his early years but I never let go of his pen. In 1998, with ₹1,500 in savings, Pohan set up his paan shop — which would become both his livelihood and his writing desk. Despite mockery and disbelief from those around him, Pohan remained focused on his dream. 'People laughed at me for writing at a paan shop,' he recalled. 'But I wrote anyway, between serving supari and betel leaves.' Pohan added, 'I didn't get a job, so I continued with my paan shop to run my family. I sit here for nearly 16 hours that is how I created my own world — penning stories from this very spot, a world that no one can take away from me.' Determined to complete his education, he enrolled at Netaji Subhas Open University and completed his bachelor's and master's degrees in Bengali in 2012 and 2015, respectively — all while managing his shop. He also pursued diploma courses in Hindi and computer studies, hoping to secure a stable job, but found little opportunity. For a brief period, Pohan looked after the literature pages of two Bengali newspapers. However, both the newspapers eventually ceased operations, once again leaving him without platform. Undeterred, he devoted himself fully to literature. His notable children's books include Thakurdar Ascharya Galpo, Aanta Buri Panta Buri, Ilishkheko Bhoot, Parulmashir Chagolchana, Kochuripanar Bhela, Dukhirampurer Dukhi Manushera, Noton Noton Payraguli and Jhinook Kumar. His novel, Tunir, is inspired by his own life, while Bhajogobindopurer Natun Agantuk Ebong presents a collection of 124 stories. 'We have published majority of Pintu Pohan's books, which have garnered considerable popularity, particularly among children,' said Ashok Manna of Manna Publications. (Adrija Datta is an intern with The Indian Express)
