The flavour of Kolkata

The flavour of Kolkata
The bridge, the river and kids' play. Brilliantly captured by Sujay Kumar Das.

Friday, October 06, 2017

Film review: Projapoti Biskut

What makes the premise of Projapoti Biskut interesting is Anindya’s choice of subject. A love story of two incompatible persons in an arranged marriage is fresh and brave too as it’s hard to evoke interest of audience familiar with love stories ending in marriage. This brought an amount of curiosity about his second film after the successful coming-of-age flick Open Tee Bioscope in January 2015.

It tells the story of Antor, a gawky, plain-looking, reserved young man who is the younger son of a bonedi household of old south Kolkata (Bhowanipore). Shaon, with whom he is married for more than two years is from a humble middle class family from Howrah with not-so-educated parents. The much-needed bonding is missing from their life and at a point of time under influence of family they start thinking that a child will set everything right. How their relationship evolves from this point is what the film is about.

Anindya Chattopadhyay has made a simple film weaving in a generous amount of Bangaliyana that we are sorely missing in today's Bangla cinema. The ‘Kartik phela’ (Dropping an idol of lord Kartik at the door of a home with a couple yet to have a child) is a forgotten practice these days and this film has entwined it with the storyline beautifully. The film explores a relationship without relying on a narrative style. The two families connected by marriage are chalk and cheese and this contrast has been established through various traits and situations. The characters are etched well, so is the crisis of a childless couple and the respective medical treatment. Love doesn't bloom between the introvert and indecisive husband who had had a failed relationship before marriage and the forlorn wife who feels claustrophobic in her new home. Shaon’s character is especially well-written, bringing out the two phases- firstly when she is a loner in Antor’s house, then when she decides to stay in her parents’ house and starts following her heart- equally well. She tells her husband that she was a shajano bou (puppet wife) in his family where she even lost her own name Sraboni and became Shaon at the behest of her mother-in-law who calls the shots in the family as she hadn’t found the former name classy. Antor’s character, I have felt, is straight-jacketed to some extent and his inner space, his longing for love was left rather unexplored. In fact, the unsaid mutual craving for each other hasn't reallt come through. The gem of a song Tomake bujhina priyo brilliantly sung by Chandrani fell somewhat out of place for this. Anindya has created nice moments of the other interpersonal relationships, like Shaon and her father-in-law indulging in Bengali TV soaps secretly and conversations between Shaon and Antor's niece. The film also has a generous sprinkle of Anindya’s  trademark humour and the one-liners elicit chuckle.

Source: A song from the film on YouTube

All the actors, including those in bit roles, are well cast and that has helped the director tremendously. It was very wise of director-turned-producer Shiboprosad Mukhopadhyay to insist on new faces in the lead as because of that we, the audience, found the protagonists so believable. Sonali Gupta was spot on for the role of the elitist, Rabindrasangeet-devoted mother of Antor physically as well as behaviourally. Newcomer Kheya Chattopadhyay is impressive as Shaon’s friend- the free-spirited Parijaat who was her only window of life. Rajatava (Antor’s boss) has been deservingly trusted with some killer comic punches. Aparajita and Shantilal (Shaon’s parents) bring out the nuances of a couple of a lower middle class family from that side of Hooghly. Arghyakamal Mitra, Shibashis Bandopadhyay and Abhijit Guha do justice to their bit roles (The first two were pleasant surprise). The child actor playing Antor’s niece was good too and due credit goes to Anindya as it’s not easy to make children believable on screen.

Debutante Ishaa Saha shines the brightest for bringing out Shaon/Sraboni through flawless expressions in all the shades. She is a revelation in the second half.

Source: A song from the film on YouTube

Aditya Sengupta, who has acting in his genes (from mother's side), excels as the indecisive and introvert Antor in his debut act but his promise is constrained by his characterization. Given the right roles, Ishaa will go far. Aditya aspires to be a director not actor and has studied abroad for it.

Source: A song from the film on YouTube

Music is a strength of this film and all the songs, from the humorous title track to Projapoti mon that plays with the end credits are written, composed (by Shantanu Moitra, Prosen, Anindya and Anupam) and sung well. A special mention must go to Ahare mon (Written, composed and sung by Anupam) which is undoubtedly part of Anupam's best work and of course to Prosen and Ritam Sen (lyricist) for the sublime romantic track Tomake bujhina priyo which is in a league of its own.

Parts of the first half dragged as Rajatava’s comic punches and Antor’s diabetic father's secret trips to the local sweet shop kept coming back. A director needs these fillers more when the story is not progressing. Also Shantilal’s comic track turned a little predictable with time. It’s in the second half when the projapoti gets wings as Shaon and Antor follow their hearts and experiment with life.

To sum up, a simple and unusual love story which is unmistakably Bengali at heart.

#ProjapotiBiskut #BanglaCinema #BengaliCinema

If you liked reading the post, you may visit this blog's Facebook page (click on the link) and hit the 'Like' button to stay connected with the future updates on this blog and more on the page. 

Thursday, September 07, 2017

The take on Chhaya O Chhobi

প্রিয় সিনেমাওয়ালা

আপনার ছবি দেখা স্বভাবে পরিণত হয়েছে। আর 'সিনেমাওয়ালা' ছবিটার পর আপনাকে এই নামেই ডাকি। পরাণবাবুর প্রতিভার ব‍্যাপারে ওয়াকিবহাল ছিলাম, কিন্তু ঐ পালিশ করা পুরনো সোনার ঝলকানি এর আগে যে এমনভাবে দেখিনি। সাম্প্রতিক বাংলা সিনেমার প্রতি ভরসা বাড়িয়ে দেয় অমন একটা ছবি।

এক তরুণ পরিচালক সম্প্রতি আপনার মূল্যায়ন  করেছেন, "...দারুন দারুন আইডিয়া নিয়ে কাজ করেন কিন্তু সবসময় সেই আইডিয়া থেকে ভাল গল্প বলেন না।" জানেন, 'বিসর্জন' দেখে ভাল লাগলেও সেই তৃপ্তিটা পাইনি, কিন্তু কাল 'ছায়া ও ছবি' দেখে ঐ কথাটার সাথে একমত হতেই হচ্ছে যে, সিনেমাওয়ালা। বিসর্জনেও তো দুর্বল গল্প জয়ার মত মারকাটারি ব‍্যাটসম‍্যান নিয়ে আর নিজে ব‍্যাট করে উতরে দিতে হল। আপনার মত অভিনেতা নিংসন্দেহে টালিগঞ্জে দুর্লভ।

জানি, আপনাকে জীবিকানির্বাহের জন্য বছরে দুটো ছবি করতেই হয়। কিন্তু এখন মনে হচ্ছে না করতে হলেই ভাল হত। একটাই করলে আরো যত্ন নিয়ে করতে পারতেন। এক ছবির কাজ শেষ না করেই আরেকটা ধরে ফেলতে হত না।

ভাল যা লেগেছে আগে বলে নিই। কোয়েল কেরিয়ারের সেরা কাজ করেছেন এই ছবিতে, যেটার আকাঙ্খায় ওনার এই ছবি করা। সুপারস্টার রাই চ‍্যাটার্জি আর কাকেই বা মানাত? বয়স চেহারায় ছাপ ফেলছে, কেরিয়ারের এই পর্যায়ে এসে কোয়েল আর রাইয়ের ভাবনা ঐ লাইনটায় মিলে যায়- "ছবিতো অনেক হল, এবার সিনেমা করতে চাই"। 

Source: Chhaya O Chhobi trailer on YouTube

ঋত্বিক দারুণ! উনি দলের সেরা ব‍্যাটসম‍্যান, প্রত্যাশা বেশি, আর সেটা পূরণ করার মত চরিত্রও লিখেছেন আপনি।

Source: Chhaya O Chhobi trailer on YouTube

চূর্ণী.....কি আর বলব....এই রোলটা ওনাকে মনে রেখেই লেখা বোঝাই যায়, আর মায়া হয়ে উনিও অভিনয়ের মায়াজাল বুনেছেন। বাংলা সিনেমায় ওনার মত ক্ষমতাশালী অভিনেত্রীর জন্য রোল লেখা হয়না, এটা আমাদের, দর্শকদেরই অপ্রাপ্তি।

Source: Chhaya O Chhobi trailer on YouTube

প্রিয়াঙ্কা প্রতিভাময়ী অভিনেত্রী এবং দুঃখের বিষয়, প্রায়ই ওনার ক্ষমতার চেয়ে ছোট মাপের রোলে ওনাকে ফিট করতে হয়। তবে মৌ ঠিক ওনার মাপে কাটা, তাই ঝলমল করেছেন।

Source: Chhaya O Chhobi trailer on YouTube

তবে আবির কিন্তু স্টার অরিন্দম হয়ে উঠতে পারেননি, তা সে ওনাকে যতই সুন্দর দেখাক। উনি আর আপনি দুজনেই কি ভুলে গেছিলেন যে অরিন্দম মেনস্ট্রিম ছবির স্টার, চলনেবলনে সেটাই হয়ে উঠতে হবে, খামতি হলে চলবে না? এই ছবির সংলাপ ধরেই বলতে হচ্ছে, "A star is a star is a star".....and not everybody can be a star on screen. আর আবির-কোয়েলের কেমিস্ট্রি বড়ই হতাশ করল। মানে কিছুই হলনা আর কি। অথচ ছবিটা দাঁড়ানোর জন্য ওটার বড় প্রয়োজন ছিল।

গল্পটার সম্ভাবনা ছিল, কিন্তু ঠিক দানা বেঁধে উঠলোনা।  দুটৌ গানতো একেবারেই আরোপিত। নায়িকা খামখেয়ালি হতে পারেন, তা বলে পাহাড়ি রাস্তায় চলা গাড়ির মাথায় বসে গান! গানটা সুন্দর এবং মজার, কিন্তু মনে হচ্ছিল, এটা কৌশিক গাঙ্গুলির ছবি দেখছি তো! 'ছেঁড়া ড্রইং খাতা'ও তাই। বড় ভাল গান, কিন্তু ঐ টেনশনের মূহুর্তে! 'একলা আকাশ'ও ভাল গান নিয়ে ঠিক মেনস্ট্রিম ছবির মত একটা আপোস। আর অত খারাপ একটা স্বপ্নদৃশ‍্য শেষ কবে দেখেছি মনে পড়ে না। আবার মনে হচ্ছিল, এটা সিনেমাওয়ালার ছবি!

একটা দৃশ্যে জিতু (ঋত্বিক) দুএক ঢোঁক পানের অনুমতি চাইছে রাইয়ের কাছে কারণ তার মত পাহাড়ের মানুষেরও হোটেলের বাইরেটা ভীষণ ঠান্ডা লাগছে। অথচ তাঁর জামার হাতা গোটানো। আর হাফ জ‍্যাকেট পড়ে ত়াঁর হাবভাবে ঠান্ডা বোঝা গেলনা। এরকম ডিটেলিংয়ে ফাঁক আপনার ছবিতে দেখেছি কি? ঋত্বিককে সার্চ করার মত গুরুত্বপূর্ণ দৃশ্যে কন্টিনিউটি গ‍্যাপও আছে।

বাংলা ছবিতে এখন রোম‍্যান্সের বড় অভাব, সেটা  সামান্য পূরণ করল ছবির শেষটা। এটার জন্য আপনাকে আন্তরিক ধন্যবাদ। ফ্রিজ ফ্রেমটা বহুদিন মনে থাকবে। কিন্তু শেষ ওভারে খুব ভাল ব‍্যাট করেও টার্গেটের কাছাকাছি পৌঁছনো গেলনা।

আত্মতুষ্টি পরিচালকের এবং চিত্রনাট্যকারের বড় কাঁটা। আর যেহেতু এই কাঁটা নিজের মনেই অজান্তে তৈরি হয়, একে ঠিক সময়ে চেনা সহজ নয়। এই ছবিতে ঐ কাঁটাটাই বারবার বিঁধল।

তবে আপনি অত্যন্ত বুদ্ধিমান, বিচক্ষন পরিচালক। আপনি ফর্মে ফিরতে দেরি করবেন না, সে ভরসা আছে।

ভাল থাকবেন সিনেমাওয়ালা। ভাল করে ভাববেন। পাশে আছি।

আপনার ছবির একনিষ্ঠ এক দর্শক

#ChhayaOChhobi #KaushikGanguly #BanglaCinema #BengaliCinema #Koel #RitwickChakraborty

If you liked reading the post, you may visit this blog's Facebook page (click on the link) and hit the 'Like' button to stay connected with the future updates on this blog and more on the page. 

Sunday, August 27, 2017

Film review: Maacher Jhol

Language- Bengali
Cast- Ritwick Chakaraborty, Mamata Shankar, Sumanta Mukherjee, Paoli Dam, Sauraseni Maitra, Kaya Blocksage
Director- Pratim D Gupta
Release date: 18th August 2017

We show our love for food by shooting and posting food pictures on social media, discuss food with friends and colleagues, take pride in the identity of Bengali being a foodie community but never think of paying a fitting tribute to food in our cinema. And here, finally, we have a food film! Thanks to Pratim to start with, just for the choice of subject (See his interview to this blog here. He said a food film was brewing in him for quite some time).

Dev D is an internationally acclaimed MasterChef running his Michelin-starred restaurant in Paris. He lives in with his French girlfriend but is reluctant to commit to marriage. His mother's illness brings him to India after thirteen years and he is given a task by his mother- to cook the same 'Maacher jhol' (A light Bengali fish curry with a subtle flavour) that he had cooked for her in his teens. He devotes himself to come up with a flawless dish and learns precious life lessons in the process. Whether he succeeded in cooking the perfect 'Maacher jhol' is what the film unfolds.

What is endearing about the film is that it lives up to its name. Like 'Maacher Jhol' is a simple dish rustled up by Bengali mothers for family members (it's not a dish to treat guests to), the film follows a simple plot and stays loyal to it. There is a sub plot but that has been given only as much importance as it deserves. The dialogue has a succinct quality that's rare in today's Bangla cinema. The characters speak in our language, only as much as needed, and the message is conveyed perfectly. A sprinkle of humour at places adds flavour to the storytelling. A thumbs up to Pratim's writing and making, in that order. A good film starts with a good script, it reminds yet another time.

The setting in France (apart from Kolkata) where the film opens, has given the film a fresh and classy feel. There are a lot of French lines in the beginning and thereafter and the first eleven minutes have only French but it doesn't feel out of place because of the simplicity of the story and the Bengali and English subtitles.

Ritwick has brought out the persona of a successful professional who is a caring son and a Bengali at heart successfully. His look is apt for a simple and brilliant Bengali student from an orthodox family who ended up as a global culinary celebrity. As Dev D he exudes a quiet confidence which stands in contrast with Debdutta Sen- his younger phase when he was into a job after studying engineering to meet his father's expectations but was not liking it at all as his passion lay in cooking. Debdutta was unhappy and unsure. Ritwick has created this range of personality traits with his face, eyes and physical acting that displays the mastery of his acumen. I shall remember his gaze at his mother on the hospital bed when he saw her for the first time after thirteen years (see picture below). It explains why after working with him in Shaheb Bibi Golaam Pratim wanted to make an entire film with him.

Source: Maacher Jhol trailer on YouTube

One good thing about the film is that the protagonist is revered for his craft, but flawed as a human being. This makes Dev D all flesh and blood.  Through the film he evolves as a human being and this growth curve elevates the film.

Maacher Jhol is well cast and the actors have done complete justice in their roles. It has helped that the characters are etched out well. Perhaps only Mamata Shankar could have brought Dev's mother to life. It's a treat to watch her become such an endearing character on screen after long and justifies her admirable  body of work with important directors of Bangla cinema. Paoli (playing Dev's wife from a loveless marriage who he left to pursue his passion in France) has limited screen time but her Sreela binds the film. The growth of Dev as a human being is all thanks to her. Sumanta Mukherjee is perfect as the 'bonedi' north Kolkatan patriarch who is proud of the blue blood of the family.  Kaya Blocksage is likable as Dev's French girlfriend. Sauraseni Maitra, a newcomer in Bangla cinema, is good as chef Maggi who is the satellite to the planet called Dev D. Her gen Y vibes are spot on. She was impressive in Meghnadbodh Rohoshyo too (Read the review here). Bangla cinema is in serious need of young talent like hers.

Source: Maacher Jhol trailer on YouTube

Anupam Roy is commendable in the limited scope of just three songs (Two in the film and one playing with end credits). The Rabindrasangeet 'Je tore pagol bawle' beautifully sung by Shaheb Chattopadhyay has been applied well in the montage of Paris early in the film. 'Dawttok' is a gem of a melancholic number built around Dev's nostalgia sung by Anupam. Young DoP Subhankar Bhar is an established name in cinematography now and he has shown Paris, north Kolkata and the modern Kolkata in the right hues. I particularly liked Paris on his camera- classy but not overwhelmingly attractive. Subhajit Singha, who works with Kaushik Ganguly, has done a swell job in editing that has ensured the story is well told in a length of less than two hours (108 minutes).

Not that it doesn't have its share of blemishes. A few scenes are weak, like the drunken scene and the one of procurement of 'bori' (sun dried and fried lentil dumpling) for cooking. Also a few shots in the cooking scenes look straight out of TV ads of spice brands and appear out of place. The similar cooking shots are played again and again, so after a point they feel like stock shots and bring a monotony. This is a flaw hard to ignore in a food film. Showing the chef in action and an interaction with his assistant would perhaps have added the desired seasoning. Dev and his girlfriend are not shown getting intimate except a hug even in private. A romantic kiss in Paris where the film comes back at the end would have been the perfect freeze frame but all we are left with is a hint of it. And finally, such a nice and peppy title track in the lovely voice of Nikita Gandhi got wasted in the background play with end credits. However, these that do not take away much from the overall experience.

Overall, a simple and taut film which has 'Bangaliana' at its core. The aftertaste of the 'jhol' will last long just like mother's cooking.

#Cinema #BanglaCinema #RitwickChakraborty #Paoli #MaacherJhol

If you liked reading the post, you may visit this blog's Facebook page (click on the link) and hit the 'Like' button to stay connected with the future updates on this blog and more on the page.

Tuesday, August 15, 2017

Film Review: Meghnadbodh Rohoshyo

Language- Bengali
Cast: Sabyasachi Chakaraborty, Gargi Roychoudhury, Abir Chatterjee, Vikram Chatterjee, Sauraseni Maitra, Sayoni Ghosh, Anindya Banerjee
Director: Anik Dutta
Release date: 21st July 2017

After two social satires including the impactful debut with Bhooter Bhobishyot I was keenly waiting about Anik Dutta's third film. The genre is expectedly different.

Meghnadbodh Rohoshyo starts with famous English science fiction writer and Oxford University teacher Asimavo Bose (Sabyasachi) who is presently in his hometown Kolkata on annual vacation and is attending the launch of his latest book translated in Bengali. Asimavo's second and present wife Indrani (Gargee), who is much younger to him, is a national award-winning actress who is past her prime and now keeps herself busy with an NGO. The film takes us into Asimavo's life. He is having long meetings with Elina (Sayoni) who is the translator of his book which was launched in Kolkata and is penning down his biography. Asimavo is also writing his first novel in Bengali that revolves around some young freedom fighters of Bengal. Indrani chances upon Kunal Sen (Abir), a national award-winning filmmaker for whose film she was feted with the national award. Indrani sets up the meeting of her daughter from her first marriage- Guli (Sauraseni) who stays in Bangalore for studies and has come over to stay with her mother for a few days, with Rik (Vikram), Asimavo's son from his first marriage. So far, so good! The mystery starts as Asimavo gets the famous Michael Madhusudan Dutta book 'Meghnadbadh Kabyo' from an anonymous guest on his birthday. As we come to know, he received another copy of the book by courier sometime back in Oxford. The book received on birthday had a certain page bookmarked with a certain line highlighted. It breaks the peace and rhythm of Asimavo's life and leads to his sudden disappearance. Indrani refuses to be a mere sufferer as police investigation makes no headway and she is joined by her good friend Kunal in an attempt to unravel the mystery. As we get into it gradually, we realise that the book is a clue to a murder traced back to Asimavo's youth when he was a Naxal leader. The film is a  whodunnit herefrom leading to the solving of the mystery of the murder of the real life 'Meghnad'.


I relished the unhurried pace Anik takes in developing the mystery in the first half and the whodunnit that has been crafted with a faster pace the second half. The first half was needed to be built carefully with the plot points to make the backdrop for the mystery. It's in the second half that the film picks up pace and weaves in a political angle as the plot draws from the Naxal era and establishes link with the Maoist movement of the present times.

Anik's signature pun and delightful sarcasm is peppered all over, like in this line of a retired cop to Kunal who said he wanted a make a film set in the Naxal era, "Apnaader Naxalgia konodin shesh hawbena, na?" or in the coinage 'Dhandamulawk bostubad' derived from 'Dawndomulawk bostudad'. There are witty jibes aimed at the ruling parties both at the state and the centre.

There are certain intellectual bits like a few clips of the play 'Meghnadbadh Kabya' showing Gautam Halder performing which may not go down well with a large section of the audience but the film can be enjoyed even if they are ignored.

The cast is apt and the performances are commendable. Sabyasachi is perfect as Asimavo. Gargee's Indrani becomes the perfect foil to het cerebral husband, as she basks in his fame and accomplishment. I only have reservations for Abir as I think he couldn't quite bring out the demeanour of a national award-winning filmmaker known for his brand of meaningful cinema. However, hr is good when out on the field solving the mystery. This is the first Bengali film of Sauraseni who is a model and has acted in two Hindi films including 'Chittagong'. She is impressive as the gen Y girl Guli for who the environment in her stepfather's home is alien. This is an ensemble cast and there are many actors who have been used wisely in small characters (Like Nimu Bhowmik as a retired police officer from the Naxal era).


Debajyoti Mishra's musical score has been used judiciously and the handful of songs fall in place with the flow of the story. The last song brilliantly penned by Debajyoti and equally well sung by Nikhita Gandi leaves a mark and brings the story to the end. The cinematography by the ever dependable Avik Mukhopadhyay, background score and other technical departments deftly support the storytelling. I only feel the police investigation dragged a bit and could be trimmed by a few minutes.

Overall, a rich mystery to relish.

#Cinema #BanglaCinema #AnikDutta #MBR

If you liked reading the post, you may visit this blog's Facebook page (click on the link) and hit the 'Like' button to stay connected with the future updates on this blog and more on the page.

Friday, August 04, 2017

A chat with Pratim D Gupta

If Dev D is his Masterchef on camera, he is playing the Masterchef behind it, giving all he can to cook the perfect Maacher Jhol to please his audience later this month. Paanch Adhyay (2016)- the first outing of this long time film journalist, well known for his reviews on t2, didn't cut much ice with the audience, but his second serve Shaheb Bibi Golaam- an edgy thriller set in Kolkata- filled the theatres for weeks last year and won several Filmfare awards too. It was also a musical hit. In the thick of the post-production for Maacher Jhol nowPratim took out some time to have a chat for Kolkata Curry.

Anirban: You were known as a film journalist and film critic till 'Paanch Adhyay' happened. What got you interested in filmmaking and screenwriting which means moving to the other side of the fence?

Pratim: I always wanted to write and direct films. I used to be involved with theatre from my school days. Later I was an active member of the theatre group Komal Gandhar. I did bit roles and a lot of production work. I was also a very good student and got a very good rank in WBJEE but I chose not to become a doctor or engineer because I was always artistically inclined and didn't want to join the herd. (Maacher Jhol also deals with this.) I studied films and English and got a job in a newspaper but I always wanted to make movies. Thanks to my day job, I spent a lot of time on film sets and also watched tons and tons of movies. And then I wrote a script called Vanish which got selected in the NFDC Screenwriter's Lab. That was the start of the journey.

A: Coming to 'Maacher Jhol', it's food film as the name suggests. And that's a brand new genre. Now, Bengalis are known for their devotion for food but I don't think it has ever been really explored in our cinema. What prompted you to make a food film? Also, for those who know you, you are a big foodie. How much of your philosophy of food is there in the film?

P: It's an out-and-out food film where food is a character. I have always wanted to make one. And when we are dealing with food and us Bengalis, I was always sure it would create a new motion picture experience. Because food for us is so much more than just food... memories, culture, state of mind... Of course, there is a very interesting yarn also spun around food. But it is the food factor which makes the film unique. And I've gone really deep into food. Not just Bengali films, I think Maacher Jhol is one of a kind when it comes to food films.

Pratim D Gupta on the sets of Maacher Jhol

A: A big surprise for the audience possibly is casting Ritwick as a Masterchef based in Paris. We know of his powerful acting acumen and you've briefly spoken in the media about how he has been stereotyped in Tollygunge. But what exactly made you think him in the shoes of Dev D?

P: After Shaheb Bibi Golaam I wanted to do a full film with him because I found him phenomenal in a film with such powerhouse actors. He created a performance texture which no one could come close to. And at the same time I was thinking of doing a food film. So the two came together. I never thought a second time about whether Ritwick will be able to pull off a sophisticated character. He can do anything. And to make him look the part, I was confident I could do it. Not just Tollygunge, even Bollywood cannot think beyond certain stereotypes for certain actors. Nawaz plays the same character in every other film. That makes my job all the more challenging and I love that. No one saw Anjan Dutt like a Jimmy Luke, no one saw Swastika in a twinplay like Jaya and Shuktara and no one saw Ritwick as a Masterchef Dev D.

Ritwick Chakraborty in a still from the film

A: We, the audience, miss a screen persona like Mamata Shankar these days. Characters with the kind of sensibility she exuded on screen aren't written anymore. What made you think of her in that role?

P: She is of a different league altogether. I am really honoured that she is the Maa of Maacher Jhol. The scenes with her and Ritwick are so special, that they really hold the film together. I am actually glad that she is extremely picky about her roles and doesn't do whatever is offered to her. We feel so sad to see Soumitra Chatterjee and Madhabi Mukherjee be part of such shoddy films.

A: What's your take on using music in your cinema?

P: Shot taking and using of music are how you can really make out the craft of a director. And I take a lot of active interest in these two departments. Right background music can really uplift a scene to an unforgettable moment. That both my DoP and background music director in Shaheb Bibi Golaam were applauded from all quarters make me very happy. I've got two new partners in Maacher Jhol. Subhankar Bhar has done some incredible work with the frames and Avijit Kundu making his debut as the background music director is my surprise weapon.

A: Lastly, what has the success of 'Shaheb Bibi Golaam' taught you?

P: That my ideas and treatment are audience friendly. That Bengali cinema doesn't need to be restricted to bouts of pseudo intellectualism and unnecessary chatter. That visuals can draw young audiences. That nothing, repeat nothing, is more important than good performances in a film.

Here's wishing the audience savours the steaming hot Maacher Jhol on 18th August.

#TollyDiaries #MaacherJhol #BanglaCinema #Cinema

If you liked reading the post, you may visit this blog's Facebook page (click on the link) and hit the 'Like' button to stay connected with the future updates on this blog and more on the page.

Friday, July 07, 2017

An ordinary Indian wants to know

Take 2: A so-called firebrand television journalist who is a brand himself just a while back demanded to know in his talk show (now branded after his name as it is his channel now) why Hindus are being selectively targeted in Bengal under the present government citing the Basirhat incident. His pitch was high, oh so typical of him.

Really, is that the situation of the entire Bengal today? Have you got enough evidence (which you have a knack of flaunting before the camera) to back your statement?

Take 1: Same journalist, same channel. A few days ago. Now sitting a few feet away, face to face with the Chief Minister of UP. The journalist calmly demanded to know why the CM had said a few days back that 'Taj Mahal does not represent Indian culture'. The CM asked back "Tell me, what does 'Hindustan' mean?" and kept on repeating himself till the 'firebrand' journalist almost meekly answered "It does not mean the country belongs to only Hindus."

Why didn't he shut up the CM firmly (he wouldn't dare to do so remotely resembling the style in which he often shuts up/interrupts his guests on his talk show but he definitely could counter the CM in a civilized manner) and clarified that the word 'Hindustan' most certainly does not mean a country of Hindus?

What's wrong, Mr Goswami? Why is your famous voice of integrity not sometimes sounding like yours after you started your channel? An ordinary Indian citizen wants to know.

#Television #NewsChannel #EnglishNewsChannel #West Bengal #UttarPradesh #Politics

Friday, February 17, 2017

A tete-a-tete with Soumya Shankar Ghosal

An ardent lover of Kolkata like this blogger, Soumya Shankar Ghosal, a management consultant by profession and a photographer by passion, recently made our city proud when he secured the third position in ‘The 20 Most Influential Street Photographers for 2017’ list from across the world derived from a poll on the street photography website His group Streets of Calcutta is perhaps one of the world’s largest street photography archives dedicated to one city. It was nice to engage with him in a conversation which is as follows. The photos in between are handpicked by the ace lensman from his vast body of work.

1. What does this achievement mean to you? How important is this listing?

Achievement is recognition of your efforts. However, saying so, I must reiterate the fact that achievement is not the ultimate goal. Photography is solely pursued for oneself. The next stage is sharing the joy with others. The third stage is the part of recognition. I am a self-taught photographer and didn’t have the privilege of having a master. Hence, recognition in terms of apperception is an acid test that the photograph has passed exam of sharing the joy with the viewer.

The recent listing is sincerely prestigious one. More so because the list features some of the most gifted photographers I look up to and sharing a little space with them is wonderful. I thank each and every one who felt I should be a part of the top 20 out of the 124 photographers nominated from across the world.

2. Going back to where it began. What got you hooked to street photography and when?

I photographed everything that caught my attention but slowly realized that I had developed an inclination towards Street Photography from around 2008. The street is full of surprises. Exploring the same lane at different times will offer different subjects and perspectives. Exploring streets and knowing the unknown Calcutta is always a fun learning experience.

Oh Calcutta! This is what strikes me each time I explore the city. Although, I was born and have lived in this wonderful metropolis for 36 years, I rediscover the city each time I go out on photowalks. I am never bored walking the same alleys over and over again. Calcutta is a city of diversity. Documenting the diversity helps me learn about the city better.


3. Tell us about Streets of Calcutta. How has the experience been so far?

Streets of Calcutta was born out of a passion to create a shared learning platform for a city-based street photography archive. The objective was to enthuse newcomers who love street photography. What started with a single individual has spread to over 20,000 across social media platforms. We don’t consider SOC as a group. Technically, you don’t need to either join or leave. As long as you love photographing Kolkata, we consider you a part of it.

The forum is quit active in terms of the number of posts on the group as well as Instagram. Apart from the offline interactions have done an online review session which had received more than 225 photos in just 1 hour.

The journey has been pretty exciting! Whatever Streets of Calcutta has achieved is because everyone took an ownership of the subject. Friends Indrajit Lahiri, Nilanjan Pathak and Ayanava Sil deserve a special mention. A special ‘Thank you’ to the brilliant photographers who have encouraged us – Mr. Debarshi Duttagupta, Ms. Lopamudra Talukdar, Mr. Bikas Das and Mr. Asis Sanyal.

4. What do you consider a significant achievement of Streets of Calcutta?

The most significant achievement is Streets of Calcutta has been able to bind together like-minded individuals to educate others about street photography. This genre is not documented much. So when the newcomers, the experienced, the good, the better and the best come together, a vast repository of knowledge is created. We believe in the power of shared learning. I am proud to say, Streets of Calcutta has been able to show street photography in a different light in its 2 years of existence.

5. You do photowalks in the city under Streets of Calcutta. What has been your most memorable photowalk experience?

Every walk is memorable. And yet, there is one walk I particularly remember since it was not about numbers but that of sheer passion for photography of my fellow enthusiasts. That was February 2015 and the walk coincided with an India-Pakistan match. And yet 41 participants turned up.

SOC conducted one of its largest photowalks in August 2015 in association with Amazon India at Shovabazar to celebrate World Photography Day. The participation was recorded at 176. Planning was vital and had to be meticulously executed to manage the big turnout efficiently. Team leads were appointed and briefed in advance and group sizes were kept at a suitable number based in the experience of the team leads. The whole program was managed efficiently with the constant support of the leads and the participants.

6. What are the plans of Streets of Calcutta this year?

We have planned a lot for everyone at SOC in 2017. The execution of the same is being worked upon. Mostly this is related to increasing the offline interactive sessions. Last year we had showcased the work of more than 60 individuals at our exhibition ‘Soul of Kolkata’ in association with ITC Sonar and Nikon. This year too we plan to go ahead with its version 2.0 but with a twist.

To check the Street Hunters list ‘‘The 20 Most Influential Street Photographers for 2017’, click here

If you wish to visit Streets of Calcutta, click here
Instagram handle of Streets of Calcutta: streetsofcalcutta
To know Soumya Shankar Ghosal better, visit his website here. 

#interview #streetphotography #StreetsOfCalcutta

If you liked reading the post, you may visit this blog's Facebook page (click on the link) and hit the 'Like' button to stay connected with the future updates on this blog and more on the page.

Saturday, January 28, 2017

The rise of Bengali neo-mainstream cinema

Which was the biggest blockbuster coming out of Tollygunge in 2015?

No prizes for guessing. It’s Belasheshe. It generated an unprecedented buzz and ran well for months. Such was its resonance from the Bengal box office that Eros – a big production and international distribution house in Mumbai picked it up and released nationally. The biggest of production houses in Kolkata acknowledged its exceptional success and its amazing ability to attract the non-Bengali audience.

(Source: The film’s Facebook page)

Now, which was the second biggest success in 2015?

The position was shared by Rajkahini and Shudhu Tomari Jonyo where the latter was an out-and-out potboiler and the only big success to boast of among so-called mainstream releases.

Cut to 2016. The same questions come back.

The numero uno was Praktan. This time it was nationally distributed in 40 centres right at the time of release in May by Eros. A smart move that paid off big time. It collected Rs 6.5 crores in the box office till the first seven days of October1.

The second biggest was Zulfiqar. Its collection crossed Rs 3 crores in 9 days flat1.

None of the movies named above (except Shudhu Tomari Jonyo) fits in with the perception of conventional Bengali mainstream cinema. However they struck a chord with a wider audience than so called alternative or urban cinema and they were lapped up by the audience week after week.

Is there a trend that has started showing?

There is. In two years on the trot a new kind of mainstream cinema overshadowed the conventional mainstream flicks that fuel the stardom of the names like Dev, Jeet and Ankush. Remakes of south Indian movies – a staple diet of Bengali mainstream cinema– are clearly losing the plot and a major success is becoming more and more elusive with passing time. None of Jeet’s movies clicked big time at least in Bengal in 2015 and 2016 (Badshah, for which he had made news with his Rs 1 crore fee reportedly did well in Bangladesh but not Bengal). Other than the saving grace - Shudhu Tomari Jonyo in 2015 Dev hasn't met with great success too in the kind of cinema that built his stardom.

The neo-mainstream cinema with good content is connecting with audiences far and wide, beyond familiar urban territories (commonly referred to in the trade as ‘Howrar opare’) and made with reasonable budgets they are leading to producers smiling all the way to the bank. They are being loved by the urban and suburban viewers, classes and masses alike.The credit for this feat goes to the respective filmmakers -Shiboprosad-Nandita of Belasheshe and Praktan and Srijit Mukherji for Rajkahini and Zulfiqar.

This genre has started adding glimmer to the pathetic state of popular Bengali cinema thanks to the dominance of poor south Indian remakes for a painfully long time. Evidently the films by Shiboprosad-Nandita and Srijit  brought back a large section of people to the theatres in Kolkata and districts (for instance, places like Baruipur and Seoraphuli) who had lost the habit of watching movies in theatres.

In terms of dimension of release too they are showing signs to be a potential game-changer. Leveraging the impact of Belasheshe, the makers of Praktan released it in 101 theatres in Bengal - unprecedented for this kind of cinema. Such was the excitement in the trade with its release that even a shut down theatre in Agarpara (north suburbs of Kolkata) re-opened with a hope of a good time screening the movie. When Zulfiqar was releasing, Srijit rued the number of theatres it was allocated vis-a-vis Gangster from the same production house. Zulfiqar got 75 theatres while Gangster got 125. When the box office results came in, Zulfiqar left the latter much behind validating the director’s wish of a longer theatre list.

If this trend of neo-mainstream cinema gets bigger in the next few years, there will be a paradigm shift in the mainstream cinema market driven by better content. It will be good for the audience as they will have a bigger and better choice of movies.

Half a dozen films are scheduled to release this year which can be categorized in this genre, made by directors like Shiboprosad-Nandita, Kaushik Ganguly, Srijit and Anik Dutta (of Bhooter Bhobishyot fame). Looking forward to see if they are able to fan the trend and make it bigger and stronger. 

The role the audience can play in this scenario is spreading the word about the movies before and after release in their own circles including social media. Audience contribution in raising awareness can be critical in the success of this kind of cinema. There are cinema groups and pages dedicated to Bangla cinema on Facebook where they can participate. We the Audience is one such group. This will surely help this trend bloom into a major change.

1. Ei Samay, 9th October 2016

#TollyDiaries #BanglaCinema           

If you liked reading the post, you may visit this blog's Facebook page (click on the link) and hit the 'Like' button to stay connected with the future updates on this blog and more on the page.

Sunday, January 22, 2017

Kolkata sandwich trail part 1 : Chandni Chowk-Esplanade

This is one culinary influence Kolkata seems to have got from Mumbai that I am happy about. Mumbai loves its sandwiches and it’s not hard to spot a roadside sandwich stall in many parts of the city. I am fond of the sandwiches that Mumbai offers.

As it is, I am always on the lookout for healthier snacking and sandwich happens to be one of my favourite snacks. I find it a happy marriage of health and taste.

It’s pleasing to note that Kolkata is increasingly warming up to this delicious, filling and pocket-friendly snack. In the last five years or so a couple of roadside sandwich stalls have opened in Chandni Chowk-Esplanade area adding more variety to the already available wide number of snacking / light meal choices. There are five, all on a straight line from the Bentinck-Street-Ganesh Chandra Avenue crossing to where Bentinck Street ends in Esplanade. So, this stretch can easily be named ‘The sandwich zone’. All the stalls make the sandwich in front of you and offer a generic menu of grilled vegetarian sandwiches - veg sandwich, special veg sandwich (with mayonnaise), veg cheese sandwich, corn sandwich, paneer sandwich etc. The fresh-from-oven sandwiches are served with potato chips and tomato and chilli sauce on the side. The taste and pricing are more or less the same in all the places, so if you find one stall busy, you may walk down to the next. The pricing is honest – it starts from as low as Rs 25 (veg sandwich) which is the cost of an egg roll.

They pat some bread spread on the bread slices, put sliced vegetables - tomato, onion, carrot and capsicum between them, sprinkle spices (which add to the delicious taste) and put it to the griller. Add Rs five and get a squeeze of mayonnaise and another Rs five to get a cheese slice in your sandwich. If you are looking for a quick, light meal, one should suffice. It’s a favourite with office-going and field executives.

The first shop I noticed is on Prafulla Sarkar Street since my workplace shifted to the area nearly seven years back. It is next to a cigarette shop and close to White House which is what the ABP office is known as. This sandwich shop is definitely the oldest in the area and makes tasty stuff, but my complaint is the sandwich bread it uses – much smaller.  Other than this, one of the early starters is on Ganesh Chandra Avenue, at the crossing of Bentinck Street. Facing Bentinck Street standing on GC Avenue it comes on the left footpath. It is quite in demand but what puts me off is that it takes the longest among all to serve. My favourite one is located just diagonally across the road (on RN Mukherjee Road), called Birju Stall.  This is very popular too and takes the least time to serve.

 Birju stall

The next one is opposite erstwhile Orient cinema (now a commercial building), opposite the Princep Street-Bentinck Street crossing. I’ve been here too and they do a good job.

Since I love my chicken grilled sandwich and none of these roadside stalls but one serves it, my go-to place is a small, modest eatery on GC Avenue called Café Upper Crust (It has the Upper Crust cake shop at the ground floor) and you can find it on the left in a few minutes walk from Bentinck Street to CR Avenue. The cheese chicken grilled sandwich they make is finger-licking good and comes at a pocket-friendly price of Rs 80. It qualifies as a hidden gem of the area for the sandwich, if nothing else.

 Cheese Chicken Grilled Sandwich at Café Upper Crust 

Back to the street and coming to the exceptional one as mentioned in the above paragraph. It’s named Bombay Grilled Sandwich and located opposite Tipu Sultan Mosque at Esplanade, in front of the cloth merchant Akberally’s, serving non-veg sandwiches. The only variety is chicken though, but that’s none short of an exciting discovery on Kolkata streets as I haven’t found a single roadside stall elsewhere serving chicken sandwich.

Idiosyncratically, it is attached to another sandwich stall serving veg sandwiches only, called Sandwich Hut, and they appear to be from the same owner. The chicken sandwich which I had from Bombay Grilled Sandwich recently had a generous serving of succulent tiny pieces of mayonnaise-soaked chicken, with the usual vegetables and it made love with my palate effortlessly. The bread was a shade smaller than regular sandwich bread which is used in other stalls, but who cares when you get that goodness, that too at an incredible Rs 40!

 My grilled chicken sandwich in the making at Bombay Grilled Sandwich

#sandwich #Kolkatasandwich #snacking #Kolkatasnacks#healthysnack #streetfood #hiddengem

If you liked reading the post, you may visit this blog's Facebook page (click on the link) and hit the 'Like' button to stay connected with the future updates on this blog and more on the page.

Tuesday, January 10, 2017

Conversations with Srijit Mukherji

“Dhur, ora abar audience naki, audience toh amra….Dekhechho tomaay je tweet-gulo korechhe taate kirawm banan bhool!” (You call them your audience! Have you noticed their tweets? They can’t even spell right in English! Mind you, it’s us who are THE audience you can call your own.)

His core audience is this possessive about his work! And he probably realized it in this fashion only after his last release Zulfiqar (October 2016) – a double adaptation of Shakespeare’s Julius Caeser and Anthony and Cleopatra into an unabashed mainstream movie – his first full-fledged attempt to mainstream cinema by his own admission. 

The above is a glimpse of the candour with which the director spoke in this recent chat show.

Right from the day Sujoy Prosad Chatterjee, a well-known performing artist, conceptualiser and director of refined and innovative cultural productions, posted on his Facebook profile that the last edition of his live talk show ‘Conversations’ in 2016 would feature director Srijit Mukherjee as the guest, requests kept on pouring on his timeline for blocking seats. I know Sujoy for a long time as I’ve organized shows directed, anchored and performed by him, and I was aware of his live talk show for a long time. So, I wasted no time to confirm my presence.

Conversations, as Sujoy says, is the only live talk show in Kolkata.

I walked in at The Palms, the multicuisine restaurant on Southern Avenue, the venue, well in time around mid-December. Someone in a black shirt walked in alone just ahead of me. I noticed that it was Srijit.

The medium-sized banquet kept filling steadily and as Sujoy took the mike just past 7.30, not only the seats were full, but many were standing at the rear.

Conversations started on the most speculated topic about Srijit at this point of time – his Mumbai stint – Has he shifted base to Mumbai for greener pastures? Will he not come back?

Srijit clarified that he has not shifted base at all and has no intention of doing so now. He shared that the first time he went to Mumbai was when he was offered to do a Hindi remake of his niche film Hemlock Society – a black comedy. It did not work out as the actor who would play the protagonist suggested a few changes in the script. Since then it has been a wait for the most successful director of Bangla cinema of the present times to make the first Hindi film on own creative terms. And Rajkahini, which made Mahesh Bhatt ecstatic, gave him the right opportunity. As it is well known, its remake is under production in Hindi as Begum Jaan with Vidya Balan in the titular role under the banner of Mukesh Bhatt and Mahesh Bhatt. Srijit added, the character of Begum Jaan was originally written for Vidya, which explains the abundance of Hindi lines said by the character played by Rituparna Sengupta in Rajkahini.

I was aware that this was not the first time Srijit’s film was being remade in another language. The one before Rajkahini, and the first, was Hemlock Society in Marathi. The director informed that it was named Welcome Zindagi.

The director revealed that he had to shoot Begum Jaan on a shoestring budget compared to Hindi cinema. He, in fact, has always had to work within a tight budget in his seven-year-long directorial career (Rajkahini is known as a prime example) and has learnt to live with it. To be more precise, he added, except for the cost of cast, the Hindi version wasn’t much ahead of the Bangla original in terms of budget. Then the film suffered huge adversities in the making (again, a fate of some of Srijit’s films). The director of photography quit the unit days before the first schedule and the set of the haveli where most of the film happens, erected in Jharkhand, was devastated by strom. To put it in perspective the director quipped, “It was resemblant of what we see of the puja pandal of Mudiali during its making in the month of August”. The shoot for a day had a plan A and a plan B depending on real time condition of the shooting zone. The cast and crew went through immense hardship through the shooting and the director saluted the spirit of Vidya in pulling it off.

Srijit informed that talks are on to remake Hemlock Society and Chotushkone (his immensely successful thriller) in Hindi. He is also researching on Noti Bonodini for a film on this legendary theatre actress from Kolkata.

Around this time, Sujoy, who was steering the conversation deftly, turned to the audience and invited questions. Someone asked Srijit whether he would be casting directors as some of the central characters in the Chotushkone remake, to which Srijit informed that things were different in Mumbai. Here in Bengali cinema, also in Marathi and Malayalam cinema, directors are revered like star actors, while in Mumbai it is a star-driven system. So it won’t generate as much of curiosity as it did when the famous directors Aparna Sen and Gautam Ghosh played the protagonists in Chotushkone. He was quick to add that Sanjay Leela Bhansali was a bright exception.

He talked of his experience of waching Sanjay Leela Bhansali, one of the friends he had made in Mumbai, on the sets. The whole cast and crew is scared of him and his obsession with details is the stuff legend is made of. It can so happen that he spotted one of the many group dancers in the rear of the floor not doing his/ her step right and as a result he will halt the take and do a re-take even if it is the fourteenth one. Srijit named an A-list actress who appears completely different when Sanjay is on the sets. Sanjay even shows dance steps his heroine if he is not satisfied with the take. Many don’t know that Sanjay is good at choreography and he directed the song sequences of 1942 : A Love Story.

Sujoy asked Srijit about the most hotly debated topic about him of the times – what prompted him to make a hardcore mainstream flick like Zulfiqar (released in October 2016). At the outset, Srijit admitted that Zulfiqar was unlike his other films and it didn’t work at a critical acclaim level and it evoked extremely polarized reactions. Many people from his core audience had problems accepting that he had made a mainstream movie. But the director set the record straight saying that he really wanted to have a shot at mainstream cinema.

Elaborating on the audience reactions to Zulfiqar, the director disclosed that there was a sharp divide between his core audience and the new audience he got with the film (like those in small centres like Baruipur and Seoraphuli). In the age of social media, everything is open to public. So the tweets and Facebook posts praising the film were noticed by his core audience members many of who were unhappy that the film was attracting such quality of audience. Srijit quoted a representative remark to show how strongly dismissive a section of his core audience was of this new audience –“Dhur, ora abar audience naki, audience toh amra….Dekhechho tomaay je tweet-gulo korechhe taate kirawm banan bhool!” (You call them your audience! Have you noticed their tweets? They can’t even spell right in English! It’s us who are the audience for you.). The director, however, made it a point to acknowledge in the show that he owned his new audience just as he owned his core audience.

The director urged the audience in the show to let him make his kind of cinema. “Please don’t box me, let me be”, said he.  

Since he now has a body of work built since 2010, Sujoy asked him to pick his favourites. Srijit stated that it was like picking his favourite children, however, if it had to be done, it would be Jaatishwar, Hemlock Society, Baishe Shrabon, Chotushkone and  Rajkahini.

The conversation was at the last lap. Sujoy invited questions from the audience and many pitched in. Noted film critic and journalist Shoma A Chatterjee attended the show and she shared her honest view on Srijit that he could do much better. She added that directors shouldn’t act as protagonist in their own films as that runs the risk of narcissism. Srijit gracefully accepted this and revealed a piece of information for the first time – When he was making Autograph (his debut film), Shoma wrote a wrong email to him with a word of encouragement. She narrated her story of struggle in it. Srijit acknowledged that it was inspirational to him.

Post event, the director was surrounded for photographs, selfies and more questions which seemed endless and showed the stardom he enjoys in his city.

There was some refreshment for the audience post-show from The Palms. I liked the succulent and done-to-perfection chicken kebabs and the fried vegetable wontons.

Finally, one line for the host - It was such a delightful and insightful conversation with a sprinkle of wit and humour (by both the host and the guest) because of the excellent conversationist Sujoy Prosad Chatterjee. I am looking forward to the next season of Conversations. 

#TollyDiaries #livetalkshow #conversation #SrijitMukherjee #Cinema #BengaliCinema

If you liked reading the post, you may visit this blog's Facebook page (click on the link) and hit the 'Like' button to stay connected with the future updates on this blog and more on the page.

Thursday, January 05, 2017

The khiri kebab in UP Bihar Restaurant

I first heard of this dish more than five years back in a business meeting with Nizam's manager. He strongly recommended us to check it out at their adjacent restaurant Moghul Garden (which is basically the section of Nizam's that serves beef) in New Market. He also mentioned that it was unlike a beef kebab as it was made of cow’s udder.

About two years back, my deputy was raving about this eatery with a strange name - UP Bihar Restaurant. She had loved the beef dishes she had there the previous evening and being a fellow foodie, mentioned it as a must-visit place serving awesome khiri kebab. I bookmarked the restaurant mentally to check it out.

I still couldn’t make it there though I passed by it or took a nearby road countless times. Then t2 (the tabloid supplement of The Telegraph) gave the final nudge. In a one-page article earlier this week on beef delicacies to look for this season which covered UP Bihar Restaurant, khiri kebab was the only dish mentioned if one visited the restaurant in the evening. I turned up the same evening.

It’s a few outlets away from Nizam’s. An old and worn-out place which has resisted change with time and pretty downmarket in appearance and nature. It appears to be a restaurant owned by a Muslim family from Bihar or UP and frequented by Muslim customers for its beef dishes among other things. The place is not small and has old Kolkata-style small curtained cabins for family dining at one side. It serves the cheapest of meals to the blue-collar working class as evident from the multiple printouts pasted on the walls showing rice and dal available at Rs 8 and 6 only. There are some basics in place but - attired waiters and mouth freshener post-dining for instance.

The khiri kebab that came quickly looked inviting. And the first few bites told me why it was such a gushed-about dish. It’s unlike any beef dish I had experienced before (largely because of the body part it is made of). The small chunks of meat finished on tawa with onion rings and a dash of chilli were soft, juicy, a wee bit chewy and worked a lethal charm for the tastebuds. The chewiness is in fact part of the sensorial experience (it’s sort of what you get in gizzard). There were tiny burns at places but the taste merits overlooking it.

If you are a passionate foodie looking for just good food and don’t care for the ambience for the sake of it, go and savour the khiri kebab in which UP Bihar Restaurant proclaims specialization. And you don’t get better value for money with twenty pieces at just Rs 92! Over everything, it will give you a pure old Kolkata experience which I love!

My next visit doesn't look too far and I would like to check out its beef biryani in particular.

#khirikebab #beef #beefkebab #delicacy #HiddenGem #OldKolkata #Kolkatafood #NewMarket

If you liked reading the post, you may visit this blog's Facebook page (click on the link) and hit the 'Like' button to stay connected with the future updates on this blog and more on the page.