Indian television’s heyday gifted viewers with memorable sleuths that were more than just characters; they became endearing cultural icons. By embracing an assortment of traits, these classic detectives, with their quirky habits, captured the imagination of the nation. Recently, however, modern streaming shows, heralded for their unique narratives and world-building, haven’t quite matched those legendary standards. A notable exception broke this streak last year with Vishal Bhardwaj’s “Charlie Chopra & The Mystery Of Solang Valley,” which featured Wamiqa Gabbi as the whimsical and profane Emily Trefusis. Now, actor Kay Kay Menon, in collaboration once again with his “Ray” director Srijit Mukherji, aims to revive that golden era with a new twist on a classic figure.
Kay Kay Menon is stepping into the shoes of a Bengali Sherlock Holmes in Srijit Mukherji’s new series “Shekhar Home,” available for streaming on JioCinema. This series is set against the backdrop of the 1990s in a sleepy, fictional town named Lonpur. Adapting Arthur Conan Doyle’s original tales with a Bengali twist, the series makes an unexpected yet compelling transition. “Ei to jibon, Kali da (such is life, Kali brother),” Shekhar Home muses to a suspect in the opening episode, delivering lines with a rich, flavorful drawl. The town’s ambiance, further underlined by details like a café named ‘Khasha Blanca,’ immerses viewers into this meticulously constructed world.
“Home is a bona fide surname in Bengal,” says Kay Kay. “Our show is deeply rooted in Indian culture. Set in the early 1990s, an era devoid of computers and electronic gadgets, the art of detection becomes even more intriguing and physically engaging. The town of Lonpur itself exudes a nostalgic laziness reminiscent of ‘Malgudi Days’.”
Kay Kay draws inspiration from Jeremy Brett’s portrayal of Sherlock Holmes on British television, which he names as his favorite. Despite the iconic deerstalker featured on the poster, Kay Kay’s approach is more about internalizing the character than mimicking mannerisms. “I play the person, not the profession,” he explains. “My focus is not on how shekhar uses a prop or a tool. One can never fully master the nuances of a profession in a limited time, but understanding a human being is within reach. Acting is a psychological process, and that’s the journey I undertake with each role.”
Having grown up devouring the works of Conan Doyle, Agatha Christie, The Hardy Boys, and Enid Blyton’s The Famous Five, Kay Kay asserts that a child’s mind is brimming with imagination and curiosity. As an adult, this trait has evolved into a habit of visualizing the narratives in vivid detail long before the camera starts rolling. “The visual image that stays with me is often the one I first envisioned while reading the script,” he says.
. This innate knack for visual storytelling frequently influences his on-set performance.
In one of his prior interviews, Kay Kay had described himself as an ‘impressionist’ actor, likening his art to that of a painter. He now extends this analogy further by introducing the term ‘simulator.’ “Modern flight simulators are so realistic that they have eliminated the crash mode to prevent heart attacks. My responsibility as an actor is similarly to create a true-to-life simulation of my character.”
Renowned for trusting his audience’s intelligence, Kay Kay steers clear of over-explicit gestures. He believes the viewer’s ability to infer deeper meanings adds layers to the narrative. Recalling a scene from “Sarkar” (2005) where his character, film financier Vishnu, observes a starlet with malevolent obsession, he shares how years later, a viewer remarked on the enduring impact of that moment. “I have always believed that the audience is intelligent. They might not be intellectual, but they are savvy. Leading life through varied circumstances is no easy feat, and if they are adept at that, decoding a film is within their grasp.”
His recent ventures into streaming platforms seem to be an exhilarating journey for Kay Kay. With roles in “The Great Indian Dysfunctional Family,” the critically acclaimed “Farzi,” two seasons of “Special Ops,” and more, he continually finds projects that challenge and excite him. He also makes a ‘glorified cameo’ in the upcoming “Citadel: Honey Bunny,” alongside Varun Dhawan and Samantha Ruth Prabhu, with another series, “Murshid,” set to release soon.
Even as his presence on social media grows, Kay Kay maintains a distinct distance, using platforms primarily to promote his work, yet admires the creativity involved in content creation. “Social media has become a staple in our modern lives. Though I don’t participate heavily, I respect the skill and creativity involved in making engaging content, like one-minute reels.”
Reflecting on his cinematic journey, Kay Kay reminisces about a time when alternate cinema thrived in traditional theatres. However, he acknowledges the transition of this niche to the digital realm. “Blockbusters dominate the Indian cinema landscape. Audiences desire a sumptuous buffet over a single nutritious meal,” he laughs.
With “Shekhar Home” now streaming on JioCinema, Kay Kay Menon stands poised to transport viewers back to an era of cerebral crime-solving, wrapped in the nostalgic charm of 1990s Bengal.
Indian cinema/hindi cinema
