Spice News: A Doughnut Chef's Secret (Spice) Weapon; Losing the Sense of Smell in Perfect Sense
“Cinnamon might have reminded you of your grandmother’s apron," says the narrator of Perfect Sense, a new movie about the end of the world. "Without smell an ocean of images disappears.” From a review by Richard Corliss.
In “Till the Last Doughnut and Drumstick” (The New York Times, February 1, 2012, pp. D1 and D3), Pete Wells reveals the secret of Federal Donuts’ fabulous flavors: Spice blends by Lior Lev Sercarz of La Boite a Epice. Hot fried doughnuts “are sprinkled with sugar and a little sea salt mixed with one of Mr. Lev Sercarz’s blends, like lavender with powdered vanilla or cocoa with orange blossoms.” All the doughnuts are made from batter seasoned with another mixture that tastes like “a Turkish pumpkin pie spice,” says chef Michael Solomonov.
The only other item on the Philadelphia restaurant's menu is fried chicken. This too gets the Lev Sercarz treatment with a whisper of dry harissa, a spicy North African blend, or za’atar, a mix of a thyme-like herb, sumac and sesame seeds.
You can read more about the unique blends from La Boite a Epice in an interview with Lior Lev Sercarz right here on SpiceLines.
What would happen if everyone suddenly lost their sense of smell?
A roundup of new "food-happy" movies from Tasting Table includes Perfect Sense, the apocalyptic tale of a chef (Ewan McGregor) and a scientist (Eva Green) who fall in love as a pandemic sweeps the world, robbing victims of their ability to smell and then all the other senses. Smell is, of course, the key to taste. Without taste, there is no flavor, no memory, ultimately no life--which may be why some afflicted characters in the movie resort to eating lipstick and flowers.
Though Perfect Sense might sound like another mass market disaster epic, Time Magazine reviewer Richard Corliss praises the “intense intimacy” of this “art house” film which “takes its cue from Albert Camus’ The Plague, concentrating on the victims, their panic or resilience, stabs of violence or passive acceptance.” Winner of the Edinburgh Film Festival’s prize for Best New British Feature.








