Indian television, in its golden era, presented audiences with sleuths who left an indelible mark on viewers. Reminiscent of those times, recent streaming platforms, touted as the new frontier for quirky narratives and intricate world-building, often fall short of their potential. However, one notable exception from the previous year was Vishal Bhardwaj’s “Charlie Chopra & The Mystery Of Solang Valley.” This delightful series, featuring Wamiqa Gabbi as the sharp-witted, humorously crude Emily Trefusis, provided a refreshing escape.
Riding on the wave of this success, Kay Kay Menon collaborates once again with director Srijit Mukherji, with whom he previously worked on “Ray.” Together, they bring to life an age-old classic figure in Mukherji’s new series, “Shekhar Home,” now streaming on JioCinema.
Kay Kay Menon takes on the role of Shekhar, a Bengali adaptation of Sherlock Holmes. Set against the backdrop of the 1990s in the quaint, fictional town of Lonpur, the series reinterprets Arthur Conan Doyle’s legendary tales with a distinct Bengali flavor. In the opening episode, Shekhar confronts a suspect with a casual yet impactful “Ei to jibon, Kali da (such is life, Kali brother),” setting the tone for this unique retelling. Even the cafe in Lonpur cheekily nods to classic cinema with its name, ‘Khasha Blanca.’
“‘Home’ is a legitimate surname in Bengal,” Menon explains, shedding light on the authenticity they aimed to capture. “Our show is thoroughly Indian. It’s set in an era devoid of modern digital conveniences. Consequently, sleuthing becomes a more physical and engaging endeavor. The town’s languid, subdued atmosphere is reminiscent of the timeless ‘Malgudi Days.’”
A promotional still from “Shekhar Home” shows Kay Kay Menon deeply immersed in his character. A fan of Jeremy Brett’s portrayal of Sherlock Holmes on British television, Menon sought to bring depth and layers to Shekhar by focusing on the character rather than his professional quirks.
“I embody the person, not the profession,” Menon elaborates. “It’s not about how swiftly Shekhar can wield a prop. I might not master every detail of a profession, but I can understand a person’s psyche. Acting is a psychological journey for us.”
Having devoured Conan Doyle’s stories during his youth, alongside the works of Agatha Christie, The Hardy Boys, and Enid Blyton’s The Famous Five, Menon’s inquisitive and imaginative mind has always been enthralled by mystery tales. Even in adulthood, his habit of visualizing narratives has remained strong. “Often, the image I retain after filming a scene is the one I conjured while reading the script,” Menon reflects. This was frequently the case with “Shekhar Home.” He recalls instances where the production team would reference a specific scene, but his mind would drift to his initial imaginative visualization.
Menon has previously described himself as an ‘impressionist’ actor, a term borrowed from painting. He now supplements this description with a new term: ‘simulator.
.’
“In advanced flight simulators, the experience is so lifelike that authorities have removed crash modes to prevent heart attacks. Similarly, my portrayal of a character must be convincingly real,” he elaborates.
Kay Kay Menon is known for respecting the audience’s intelligence, even in the realm of mainstream Hindi cinema. He believes that subtle gestures and nuanced performances resonate more profoundly than heavy-handed portrayals. This conviction has stayed with him throughout his three-decade-long career. Reflecting on his work in “Sarkar” (2005), Menon recounts how a fan once remarked how deeply a particular scene, where his character Vishnu gazes at a starlet with malevolent desire, impacted them.
“I genuinely trust that audiences are intelligent. They may not be intellectual, but they certainly are intelligent. Navigating life’s complexities equips them to appreciate nuanced storytelling,” Menon asserts.
Menon has been thriving in the streaming domain, appearing in a variety of series such as “The Great Indian Dysfunctional Family,” the acclaimed “Farzi,” the intense “Special Ops” (seasons one and two), “Bambai Meri Jaan,” and the survival drama “The Railway Men.” He also has a ‘glorified cameo’ in the upcoming “Citadel: Honey Bunny,” featuring Varun Dhawan and Samantha Ruth Prabhu. Another series, “Murshid,” is slated for release later this month.
Despite his busy schedule, Menon finds time for more media interactions. Before our interview, he graciously completes a shoot with a ‘youth platform,’ engaging in rapid-fire questions and offering advice to Gen-Z. His Instagram, with over 407k followers and 477 posts, serves as a platform for announcing his projects and sharing festive greetings, though it maintains an air of professionalism.
“Social media is integral to our lives now,” Menon acknowledges. “I primarily use it to promote my work. I have nothing against any tool or technology. Creating a one-minute reel, for example, requires immense creativity and skill. But that’s not something I excel at.”
Menon’s last theatrical release was the sports drama “Love All” (2023). Once celebrated alongside contemporaries like Irrfan Khan and Manoj Bajpayee in alternative cinema, the landscape has dramatically shifted towards streaming platforms today.
Throughout his career, Menon has witnessed several moments where content-driven cinema seemed poised for mainstream success. “It never quite happens,” Menon says with a laugh. He believes the allure of larger-than-life entertainment is deeply ingrained in the Indian cinema-goers’ psyche.
“Blockbusters dominate in India. Audiences prefer the expansive buffet over a single nutritious meal,” Menon concludes.
“Shekhar Home” is now streaming on JioCinema.
