Actor Kay Kay Menon believes the continued debate around nepotism in the film industry hasn’t led to any real change, especially when it comes to opportunities for so-called outsiders. Having carved out a career without a godfather in the industry, Menon feels the discussion has done little to alter the power dynamics.

“The conversations around nepotism haven’t actually helped anyone get work,” says the 58-year-old actor, known for acclaimed performances in Hazaaron Khwaishein Aisi, Black Friday and Life In A...Metro, among others. “Film companies are not public service entities. They’re private companies trying to make a profit. So if they choose to hire their own children, I don’t see how that can be contested. They have the right to take those decisions.”

Menon points out that the arrival of streaming platforms has shifted the game in a significant way, providing space for more diverse stories and talent. “Opportunities have increased with the rise of OTT platforms. Unlike theatrical films that cater to mass psychology, OTT viewing is an individual experience. That changes everything. You need good stories and good actors, it’s no longer about just star power,” he explains.

Taking a dig at formulaic cinema, he adds, “The dhan-tanaiyan approach doesn’t work here. You won’t find someone standing up to dance while watching Sheila Ki Jawani on an OTT platform, that’s a party song, meant for a different setting.”

You know they are ageing in reverse when you see Kay Kay Menon and Vinay Pathak looking dapper in their chic attires, as they sit down with mid-day to chat about the upcoming show, Special Ops 2, helmed by Neeraj Pandey. Calling them versatile is an understatement, considering their vast body of work and how they seamlessly become their characters — Himmat Singh and Abbas Sheikh, respectively. While they are yet to watch the show, the two actors confidently tell us that they are already blown away by the filmmaker’s expertise in “weaving fiction and making it almost seem real.” Excerpts from the interview:

Kay Kay Menon: It was ready six months back. We were just waiting for the JioHotstar merger to happen. Almost two-and-a-half years ago, we had finished season 1.5. So, this bit of wait time is expected, especially for a show of this massive scale.

Vinay Pathak: Not really. You get calls selling insurance or credit cards every now and then, but we know now [to be careful]. We haven’t been a victim yet. It makes you wary, but you cannot be panic-stricken about it all the time.

KKM: It’s as worrisome as your house getting burgled on one fine day. The aura around the risk depends on how much you amplify it. The lock was invented to keep thieves away, but they found a way out, so we moved to digital locks. It’s the same thing here — anything that is technology-oriented, it’s always possible for someone to break through. You eventually find devices to curtail it.

VP: It feels fantastic to be a part of [something] this big and exciting. The best is that it is really thrilling. Sometimes, I can’t believe that I am an integral part of that madness.

KKM: When I saw the trailer, I was blown away by it.

VP: I think that is best answered by Neeraj Pandey. But I think he is very good at weaving fiction and making it almost seem real.

KKM: The new thing came with the script, of course, which I cannot reveal. Ultimately, it all depends on the writing, and Neeraj is brilliant in that department. So that was taken care of. Each time I come for a new season, the only thing I look forward to is to see what he has done now. That’s the most exciting part for me as an actor. As for Himmat Singh, I know him now quite well, since we’ve also done his backstory.

VP: I know that I am going to read a new story with the references of what has already been established. It’s always exciting to read how and what story we are telling this time.

KKM: We are both theatre actors, so we usually do everything in one take only. It is not a threat to us. It is, in fact, very good because a certain continuity is maintained that you need not induce later for a different cut. So, I don’t think that is a problem. It is all well-rehearsed.

VP: Hasn’t it spoken for itself? OTT has been around for a while and it’s settled now. I think we love to keep these theories of theatres being affected afloat.

KKM: I believe there’s always a correction that happens. You have an inflation and then a correction. When television came in, everybody thought that cinema was done because no one was going to go to the theatres, but nothing happened. For some time, everyone had that fear, but it settled. I don’t think theatrical releases are going anywhere. Yes, the format and the way people view it might be different, but it will correct itself to cater to that audience. You will have to up the ante a bit while making [content], understanding that there are two different kinds of people who watch it. The same person becomes a different individual when he is watching something on OTT, and I can guarantee that person will not stand up and dance to Sheila Ki Jawani after watching it on OTT. [In theatres], it’s a mass psychology that happens. It is a party syndrome, so even if you don’t know how to dance, you will also shake your leg. As long as makers understand that and cater to it, [it will work].

VP: Hum jo kaam karte hain, woh accha hi hota hain. We don’t sit and wonder, ki woh jo kharaab kaam kiya hain, uske baarein mein log humse kya kahenge [laughs]. Our intentions are always good; we want to do a decent and honest job. That is how we look at all the jobs that one has been a part of. It’s an honest approach to how we go about our work.

KKM: Oh, that I won’t reveal — why should I?

VP: All the time, that is the excitement. We do discuss it a lot with our shrink.

“Hazaaron Khwaishein Aisi precedes me whenever I walk into a room. First, Hazaaron walks in, then I,” says the film’s director Sudhir Mishra. Even two decades after its release in 2005, the film, starring Shiney Ahuja, Chitrangda Singh and Kay Kay Menon, is regarded as one of the finest political dramas of Hindi cinema, and Mishra believes, “There are many films – but none like Hazaaron. Even I haven’t made another film like it.”

As the film clocks 20 years, Mishra offers a glimpse into the ideas that shaped the movie.

For Mishra, the period of Emergency shown in the film is used as metaphor. “It’s about a generation that rejected the version of India that was handed down to them,” he says, adding, “Perhaps it was the last generation that truly rebelled – for whom life wasn’t all about loving your parents. Life was also about holding the hand of someone who wasn’t yours, but was less fortunate. It was about recognizing that this world isn’t the best of all possible worlds. I think all of that was communicated through the film. It’s also a requiem, a lament for a lost generation. It’s a lament, too, for an India that could have been, and wasn’t.”

Mishra calls the film an accident. “Everything that could go wrong in a film went wrong. But strangely, every problem led to a solution that turned out better than the original,” he says.

Citing examples he says, “For example, I had cast someone (as female lead), but it didn’t work out due to certain issues – then I found Chitrangda, and she turned out to be a better choice. The same thing happened with Shiney (Ahuja). Even Swanand Kirkire – he was right behind me, assisting on the project. This film ended up launching many careers.”

Mishra recalls Shekhar Kapur’s reaction to the film’s first screening. “He said, ‘Who will see this? The young don’t know anything about anything.’ But now, I’ve lost count of how many young people have told me they’ve seen it,” Mishra says, adding, “My whole reputation with the younger generation is built on Hazaaron.”

Talking about the title of the film, Mishra says, “Like tryst with destiny, the film was initially titled Twist With Destiny. It was a play on Nehru’s Tryst With Destiny speech. But Pritish said, ‘Hindustani film nahi lagegi.’ And I thought he was right, so we dropped it. I was going to use the song Hazaaron Khwaishein Aisi anyway, so we went with that as the title.”

Swanand Kirkire, who was the chief assistant director on the film, sang one of the most popular tracks of the film – Baawra Mann. Recalling how he ended up singing it, Kirkire shares, “Baawra Mann was written 3–4 years before Hazaaron... I never thought it would become a song for a film and would live on. I never used to sing it for anybody, but on that set, I sang it for Kay Kay, Sudhir, and everybody. It clicked with them, and Sudhir asked me, ‘Yeh kiske liye likha hai? Yeh film mein le sakte hain kya?’ Then Shantanu Moitra polished it, and it became a part of the film. It changed my life. I never wanted to become a singer. But Sudhir said, ‘Tu hi gayega.’”

Mishra was working on a different film when the story for Hazaaron... came along. “I was sitting with my friend and cowriter, Shiv Kumar Subramaniam. Various things were happening, and in one of the stories, Vikram appeared (played by Shiney). And we thought, what if we tell the story of our generation, or of those who wanted to rebel, through the eyes of a guy who didn’t want to rebel – the fixer. And if we humanise that fixer, make him more than just a type… then we could tell our story through the eyes of someone who hated the rebels, and yet was one of them. That’s what completes the picture of India. So, when Vikram (Shiney’s character) came into the story, the film came together,” he recalls.

Starring Kay Kay Menon, Chitrangda Singh, and Shiney Ahuja, Hazaaron Khwaishein Aisi (2005) was a semi-hit but garnered widespread love and acclaim over the years. Dismissing rumours of a remake, Sudhir Mishra, who served as both director and writer, says that a sequel could be worked out.

It is the time of re-releases, and Sudhir shares that there were talks about HKA, too, getting a re-release before the death of producer Pritish Nandy: “It’s surely in consideration. HKA was released without PR and was a minor hit. (But) the kind of viewership it got later is weird!”

The filmmaker feels that HKA is no longer his film: “Over the years, the audience made it their own.” He is also asked about a possible sequel or remake wherever he goes and shares, “A sequel can be done as the story of the three characters can move on. But, nothing should not be done just for the sake of it! If something comes to mind, it will be, but I can’t spoil the memory of the film – kharab nahin kar sakte.”

“The film was rejected by the National Award jury headed by (filmmaker) Basu Chatterjee. The industry thought that it would be sent for the Academy Awards but lost to Paheli (2005). But HKA went to several festivals and won awards all over,” the filmmaker shares, adding “The test of a film is that it has meaning for its audience across time and keeps finding other audience. HKA does. That is the biggest award!”

Sudhir was certain about casting fresh faces for the film. He recalls how, Swanand Kirkire, who wrote and sang Bavra Mann and also appeared as a villager in the film, auditioned hundreds of actors for the lead roles.

“I had already cast someone for Shiney’s role, who is still very angry with me. But then, Zoya (Akhtar, filmmaker) sent Shiney. I originally tested him for Kay Kay’s role but changed it... Chitrangada was going to catch a flight when I called her... The only criteria was no known faces,” he recalls.

Jaaved Jaaferi has been in showbiz for over three decades now, but the actor says that his best is yet to come. In a chat, the Total Dhamaal actor spoke about the kind of roles he wants to do now and how he has learnt a lot from both, his father Jagdeep and his son, Meezaan. Excerpts…

No, there haven’t been many interesting offers. Personally, I can do much more. I just accepted what came my way. I did not want to keep waiting for the right roles, but I now want to focus on significant roles in films. I would love to play characters like what Manoj Bajpayee and Kay Kay Menon have portrayed. I had good roles in web shows Mohrey and Taaza Khabar, but people remember me more from my comedy films.

When a role gets talked about or a film becomes a hit, it is normal to get slotted in that genre. And till you get a different role, which is talked about, you will continue getting similar work. I remember playing a villain in Besharam, but the film didn’t do well. I am doing a dramedy now and it is a different story. I am hoping people will like me in that role.

When I look back, I think I had all the prerequisites to play the lead role. I had a decent personality and could dance well. When I was offered Meri Jung, my father (Jagdeep) saw how the film had veteran actors like Nutan ji, Girish Karnad, Amrish Puri and a writer like Javed Akhtar, so I went ahead with it. Later, Govinda with his dancing style became a hit and he was talented, too. When I saw his success, I felt I could have been in that space if given the opportunity. Maybe I made some wrong decisions, but I don’t cry over it.

Filmmakers have been facing this issue for a long time, even before the pandemic. We have been following the same formula in films and are not telling new stories. Today, the audiences are spoiled for choices. Earlier, mediocrity ruled, people were tolerant and had a good time at the theatres. Now, they are exposed to quality cinema at home. Economically, too, it is not easy to spend 4-5k in a cinema hall. We need to up our game and understand that it’s the film that’s important and not the star. Filmmakers should up their game rather than sticking to making formula films.

The actor, who was recently seen essaying interesting roles in web shows like Citadel, Murshid and Shekhar Home, in a conversation with us talks about how he has stayed true to his craft while adapting to a new medium.

The actor, who has consistently played strong and interesting roles in his career, never felt that there was dearth of good roles for him. He said, "People like Manoj (Bajpayee) and I are quite ziddi as actors. We consistently kept doing our work, and now people are seeing the results. Hum tikke rahe. I come across many people who ask me if I got my due as an actor, and I always respond with…toh de de na due. I have stayed true to my craft. I don't want to debate on whether I helped a film or a web show sell. As a batsman, a cricketer can only play a game, he cannot build a stadium."

The Haider actor said, "After 30 years in the industry, I don't think that not being a part of a blockbuster film or masala entertainer makes me less of an actor. In the first five years, this thought could have crossed my mind, but now I am there for people to cast me. Also, I never had good marketing skills. The appreciation that I got from OTT is equally big. With due respect to stars in films, actors on the web have done equally well”.

On a lighter note, Kay Kay revealed how he has nothing against reels or the paparazzi, but he’s not the kind to click and post pictures with people to show and tell. He said, "I would love to attend a party if it is about my upcoming project. But I will not go to the party and use my mobile phone as the third eye and tell the world about it. Social media has its pros and cons."

He added, "As long as you enjoy your work, everything falls in place. The day I stop enjoying it, I will quit acting."

It has been two weeks since Citadel: Honey Bunny dropped online. While the Varun Dhawan and Samantha Ruth Prabhu-led spy thriller has received mixed reviews, the audience largely agrees on one thing – that Saqib Saleem is impressive as the antagonist KD. “It’s a little overwhelming when you don’t think of something too much and then that starts giving you love,” starts the actor, when we sit across from him for a chat.

He continues, "This is like a proper massy binge show. Which is why we started watching OTT, right? I had the most fun with the action. The action. Because as young boys, we've all grown up wanting to be action heroes, right? So when you get to do cool stuff, you really feel cool when you come back to your vanity van after you've done a scene. You feel exhausted, of course. But also just feeling like, ‘oh, I've done something awesome’. That child in you gets very happy.”

To him, joining the Prime Video series was a no-brainer as it gave him the opportunity to team up with director duo Raj-DK, who also co-wrote it with Sita Menon.

“What I really enjoyed about them is that they're very collaborative people. They give actors the respect that, hey, we've cast you for a part. You exactly know what you're supposed to do. We've cast you because you're good. And they're not one of those directors who tell you how you should act. They just set the scene for you well. And whenever you give some feedback to them, they're not very reactive people. So when you give them feedback, it may just feel like, did I say the right thing or did I make sense at all? But when the material comes back to you, you see traces of your discussion. This is why they are people who've done so much quality work. It's very heartening to see that even after having such success, you're so collaborative and wanting to hear what the other person has to say. We were an eclectic bunch. Kay Kay Menon is a masterclass. You will read a line on script and you're like, okay, we'll do it like this. But he just finds this new, organic way to do it. And he would surprise you so much with his performance. Both me and Varun, in fact, we used to just keep looking at him. He is so much in sync with himself and his craft. The beauty of Varun is his excitement and the fact that he is still the same man. He still committed. He still wants to do one more take and do better. You enjoy when people really want to work. He feels like if you're taking one more shot, he could do better. And that attitude, I really love it. Because he's also had an interesting body of work behind him. And he's had his share of successes. But that thing hasn't diminished in him. That he really wants to give his best. Then we had Samantha. Who I've met for the first time she's a firecracker. I have so much love and respect for her. Because of course she was going through what she was otherwise. But at no point that became an excuse. It was like this big set is here to do this action piece and we'll pull it off. So I genuinely learned that about her and how to just keep going. I made good friends with Sikandar on this. To a point that I asked him to act in a film that I was producing. Everybody came in with that mindset: let's have fun, let’s do good.”

We quote to him a video that’s going viral of him and Kay Kay. “I get at least 10 tags a day on social media somewhere. But I'm very happy, yaar, this is what I hear, right? Ki agar memes banne lag jaye toh somewhere the shows hit home.”

Clearly, shooting the series was a creatively satisfying experience for Saleem. Yet, things took a different turn when it came to the show’s promotions. The actor was absent from all the events, beginning with the trailer launch to pre-release promotions. It got the internet talking about the 2020 episode when Disney+ Hotstar announced its seven-film slate, but did not invite two of the films’ leading heroes Kunal Kemmu and Vidyut Jammwal for the virtual event. At the time, the two actors had spoken about the lack of level-playing field in the industry. Evidently, things haven’t improved despite the discourse.

Saleem explains, “If you talk about my absence from the trailer launch to the premiere, I'm a very simple guy. So when you see the trailer you see that, of course, there's a certain narrative that these guys - the makers and the creators want to take. And they feel like it's in the betterment of the show. When I saw the trailer, I'm like, okay, this is the narrative you want to take. I would like to clarify it's not like I wasn't invited for the trailer launch. I decided, okay, I'll only talk when you show the impact of my character. I can only talk there. I love myself and respect myself. And I've worked really hard to be in the position that I am. So I really respect that position. So it's okay if there's a narrative you want to follow. I don't want to come walk in there and be detrimental to that narrative. I want the show to fare well. I also don't want people to ask me, what are you doing in this? So I'm like, okay, whenever the show's out, it's better to talk then. So there's no grouse or bad blood or animosity or anything of that sort. Yeah, they took a narrative that they wanted to take. And whether I agree or don't agree, it doesn't matter because the team wanted to take it. I thought, okay, let's wait this one out. I'm very sure of what the impact of my part is. Let the show come out. And today, the show's release has been two weeks and I have been on calls since 8.30 am. Usually people disappear after the release happens, right? So I just thought, okay, let's try this route. Do I blame the world for it or I crib about it and say, oh, how unfair? Not really. I don't take things like that. I've moved on. I'm starting to do my next now. I don't try and be like, oh, the industry's such a bad place. It's unfair for the outsiders. It's unfair for everybody."

We bring up the nature of the systemic disadvantage at play here. It’s widely believed that the industry has its cliques, and if you don’t belong to one of them, you get sidelined.

Saleem reflects, “It's the way things work. A lot of people think about me that he's just a lazy actor. He doesn't work a lot. But to get each opportunity, you have to work really hard. So when things don't go as per plan as you thought that they would go with this opportunity. Does it feel bad? 100%. But it's just, I feel like there are two ways to look at life. One is to keep crying about how wrong I was. Like, okay, this happened to me. I tried this and this happened. Let me prepare better or do something different so that this doesn't happen to me again. I'm okay faltering. It’s not my mistake, but being in a situation. But can I avoid this going forward? Because it's going to be difficult. It's going to be very difficult with what you want to do. You want the whole country to love you. That's what you're aiming for, right? To make that happen, you'll cross several of these speed breakers. For the sake of your mental health, you say - nothing is easy in the world and see the positive side of it and start thinking about what to do next. I feel like everybody knows what they've signed up for. With the advent of OTT at least more voices are coming to the fore. Before this, when I came to Bombay in 2011, there was - either you did TV or films. And films were only options for theatrical films. Now, as an actor who's come from the outside, he's getting a chance to show his work to people, if the industry is still not wanting to see it. Do such work that the common man is saying, it's good. And if the common man is saying it's good, then somehow that will translate for more work. That's the only way. I don't wish this journey on anyone. I came here when I was 20. Right now I'm 36. It's been 16 years since I have reached this place. It's a very difficult road. On some days you feel am I doing the right thing? Because how you see yourself, a lot of people here don't see you. People always want to try to undercut you. That is the line of work we're in. They are always figuring, if he had this much last Friday, then he's worth this much right now. After a point, talent doesn't do much. No matter how good you are, it is a numbers game. So you focus on doing your bit and hoping people find you."

And people have. The actor cites the example of director Sudhir Mishra, with whom he is collaborating on a series. “It was therapeutic to work with Sudhir Mishra. He knocks on some interesting doors inside of you as an actor. He takes you to places and gives you the confidence the industry erodes from you,” says Saleem.

He is also producing films under the banner that he has rolled out with his actor-sister Huma Qureshi. “We’ve put together a couple of films that should release next year. I’m also developing a film for myself.”

She has a wicked sense of humour, but her roles are usually sombre and distinct from one another. In her latest outing, Shekhar Home, Rasika Dugal steps into the character of Irene Adler, Adler, a key figure whose origin lies in Sir Arthur Conan Doyle’s beloved Sherlock Holmes. Since childhood, the actor has enjoyed reading Doyle’s books and watching various versions of the detective series.

“I used to enjoy the Jeremy Brett version of Sherlock Holmes, which used to come on Doordarshan every Sunday. Then there is the Benedict Cumberbatch version of Sherlock, which is different from everything else, which I enjoyed watching too,” she says, reflecting on her childhood fascination with shows like Karamchand and Sherlock.

This passion made her decision to join Shekhar Home an easy one. “It’s kind of a no-brainer, honestly,” she says, emphasizing her eagerness to delve into a genre she has long admired.

While comparisons are inevitable, Dugal’s curiosity was piqued by the character. “The scripts were so different that it’s hard to make a comparison. But I enjoyed the quality of the mystery and the playfulness between Shekhar and Irawati, where there is a hint of romance and clash. I thought it would be interesting to play the only character who is silently acknowledged by Shekhar,” she says. Dugal adds that she has shared the screen with many talented co-actors throughout her career. The only exceptions were Kay Kay Menon and Manoj Bajpayee.

“When I heard Kay Kay was playing Shekhar, it was another big reason for me to do this show. Everybody has their own style. With his experience, he can see trouble 20 steps ahead. I would experiment and then figure out, but he knows what he wants before having to try different options.”

The character of Irawati, in the Jio Cinema series, presented Dugal with a unique challenge, which she approached with a keen understanding of the role’s subtleties. She believed that Irawati’s presence needed to be carefully measured to maintain her enigmatic allure.

“[The makers] wanted to put me in more scenes in the fourth episode. I had a conversation with the director and producer and told them that Irawati has to appear only sparingly; otherwise, it doesn’t work,” Dugal explains.

This insight even led her to suggest cutting some of her scenes in the fourth episode to preserve Irawati’s mystery. “I felt like that was for good reason,” she notes.

If Kay Kay Menon features in a project, it features in our watch-list. And if it blends his acting prowess with Sir Arthur Conan Doyle’s much-loved work, Sherlock Holmes, it’s a no-brainer. That explains why we’re looking forward to Shekhar Home. The Jio Cinema series reimagines the iconic detective in the setting of 1990s India. Playing the famed detective can be a big draw for any actor, but Menon says it was the story’s adaptation that attracted him deeply.

“I normally don’t go with inhibitions at all. I go with an open mind [when approaching] any script. This story is set in a sleepy town called Lonepur in the 1990s, without telecommunication, mobile phones, or Zoom meetings. It felt so good while reading it that I was transported to that era,” says the actor.

Helmed by Srijit Mukherji and Rohan Sippy, the mystery series also stars Ranvir Shorey, Rasika Dugal and Kirti Kulhari. Over the years, there have been many adaptations of Doyle’s detective series, including the hugely popular Sherlock, fronted by Benedict Cumberbatch, and Robert Downey Jr’s Sherlock Holmes (2009). Didn’t the fear of comparisons cross his mind? Menon says he embraced the challenge without falling into the trap of comparison.

“That is a trap. If I think like that, then I would never be able to perform. Benedict Cumberbatch is not playing Shekhar, right? Nor is Robert [Downey Jr]. I am playing Shekhar. I don’t look at it from the prism of something that has already been done. Otherwise, every love story would seem like Romeo-Juliet and Heer-Ranjha. I go with the principle that this is a unique script and given to me only, and I need to do justice to it.”

Holmes’ biggest strength is his power of deduction. The actor is quick to admit that he doesn’t have his subject’s observation skills. So, he embodied the character by gleaning out his other characteristics from the script, even letting the fictional town’s mood influence the role.

“I found that there’s a certain pace and rhythm that Shekhar sets, irrespective of the situation that he is in. I also represented Lonepur, that sleepy languid nature of the town seeping into this person. I let myself be; the mannerisms and body language happened. I don’t design as an actor. It’s all slightly transcendental.”

He adds that the production team had to carry out extensive recces before finalizing Bholpur and Haldia in West Bengal as the locations for the fictional town.

What added flavour to the story is that it was helmed by Sippy and Mukherji, each bringing their distinct voice.

“Their voices are very different. Srijit has a stereophonic voice, while Rohan has a softer voice. They are a powerhouse of talent and know how to go about a story. When I was doing Special Ops, I worked with both Neeraj [Pandey] and Shivam [Nair]. I love seeing the jugalbandi. Cinema is the most collaborative art possible.”

Such is The Family Man effect that you can’t talk about it without it bringing a smile to your face. We can almost hear the smile in Manoj Bajpayee’s voice as he speaks about shooting the third season of Raj-DK’s spy thriller. “It’s shaping up great. I don’t want to be flamboyant. All I will say is that each day’s experience is making us feel that the third season will be far bigger and better,” he says.

Bajpayee has another reason to be happy. The actor achieved the milestone of 100 films with Bhaiyya Ji. After its theatrical release in May, the action thriller premièred on ZEE5 last week. Had he hoped for a better box-office outcome? “Let’s not even go by theatre viewing nowadays. It did remarkably well in single screens, but multiplexes didn’t see [high] footfall. That is the case with most films in multiplexes.”

One’s 100th film can be a good point to pause and assess their career. As he looks back at his three-decade journey in the movies, the actor says that filmmaker Mahesh Bhatt’s recent words stayed with him. “Bhatt saab said, ‘You achieved all of this even after being so choosy. It’s a great achievement.’ I chose my films with great care. Some of them went wrong, most went right. To complete 100 films in this cut-throat industry is a miracle in itself!”

Sticking to his convictions in an industry that only chases box-office success wasn’t easy. But Bajpayee marched to his own beat, building a robust filmography that boasted Satya (1998), Shool (1999), Gangs Of Wasseypur (2012) and Aligarh (2016). Today, he stands as a success story for aspiring actors, who want to headline meaningful stories.

“Today’s actors are at an advantage. They have come at a time when things have changed. Be it me, Irrfan or Kay Kay Menon, we had it tough. We somehow navigated and found our way with stories and directors. We took a lot of beating before everything started changing. So, I envy these actors, who have come at a time when the choices are so many.”

The beating that Bajpayee took was not only professional. “I couldn’t spend time with my parents, and they passed on. You make these sacrifices when you’re chasing a dream.”

What would an Indian Sherlock Holmes be like? Would he be Satyajit Ray’s Feluda or Sharadindu Bandyopadhyay’s Byomkesh Bakshi? Guess we’ll know when Srijit Mukherji’s Shekhar Home, which sees Kay Kay Menon portray the iconic detective, streams later this year. For now, Rasika Dugal, who steps into the role of Irene Adler in the mystery drama, tells us that Shekhar Home is fresh and fun.

“I finished the shoot by mid-2023, but Srijit and the team had two more episodes to go, which they finished by December. This is a challenge because it’s hard to please Sherlock fans. Like everyone else, while growing up, I read the Sherlock Holmes series on and off. I am a huge fan of the Benedict Cumberbatch series, but our show is not a take on it. What it attempts is to bring to the table the same authenticity and finesse of storytelling. As someone who knows many Cumberb*tches, I hope we have fared well,” the actor laughs.

Dugal is thrilled that the upcoming series gave her the chance to work with the National Award-winning director. She says, “We spoke so much over the years about [possible collaborations], but none of them materialized. I guess this was waiting to happen. My character Irene is sharp. She is constantly outsmarting Sherlock, so that play was interesting.”

Kay Kay Menon had doubts about fronting The Railway Men, and for good reason. The actor had starred in Bhopal Express (1999), which was based on the 1984 Bhopal gas tragedy, the same subject that forms the backdrop of the Netflix series. What’s new here, he thought. That Yash Raj Films (YRF) was backing it made him all the more wary.

“The project’s casting director told me about The Railway Men. Since it is [produced by] YRF, one thinks the project might get into a mainstream zone. Plus, I had done Bhopal Express earlier. So, I was doubtful about [exploring the subject again],” recounts the actor.

This is where the power of the script, penned by director Shiv Rawail and writer Aayush Gupta, kicked in. “When I read the script, I was floored. I wanted to meet the person who was making it. When I met Shiv, I thought, ‘He’s a kid!’ But when he started speaking, I understood his approach to filmmaking, and when I saw the set, I was happy that I didn’t go by my instinct,” laughs Menon.

YRF Entertainment’s maiden web series—also starring R Madhavan, Divyenndu and Babil Khan—features Menon as station master Iftekaar, who risks his life to save people on the night of the gas leak. Since The Railway Men dropped online over the weekend, its lead actors have been earning acclaim for their compelling performances.

It’s not easy to hold one’s own in an ensemble drama. Yet, each actor shines bright in the limited series. Sure, it has much to do with individual talent. But Menon also attributes it to something bigger—their collaborative nature. He believes that any actor, who desires to create legacy work, can’t afford to harbour insecurity and must approach every project as teamwork.

“Sanskaar ki baat hai. I’ve never felt that I have to step into someone else’s space. The script and the project are greater than me. If that is accepted by the audience, all of us benefit. If that doesn’t happen, nothing else [works]. All of us have different parts to play [in the smooth functioning] of an engine, and if one starts to interfere with the other part, the engine will crash. So, we have to show professional maturity. This approach makes films last for posterity. Otherwise, it’s just a three-day business.”

The 54th International Film Festival of India will see the participation from some of the biggest names in Indian cinema, many of whom got National Film Awards, returning to that famed red carpet. The festival, which will be held in Goa from November 20 to 28, will have a total of 270 screenings - including premiers of foreign films and restored Indian classics.

This year, Michael Douglas will be presented with the Satyajit Ray Lifetime Achievement Award for excellence in world cinema.

The festival will also continue with its segments from last year such as- gala premieres, Film Bazaar's book to screen segment, IFFI cine mela, Creative Minds of Tomorrow and all Film Bazaar's sessions.

In a first, Best OTT series award will be presented at IFFI. As per officials, "A total of 32 entries have been received in 10 languages from 15 OTT platforms."

- Over 270 films will be showcased during the festival at four venues.

-‘International section’ of the 54th IFFI will have 198 films, which 18 more than last year. It will have 13 world premiers, 18 international premiers, 62 Asia premiers and 89 India premiers.

- The opening film is international premiere of UK film Catching Dust by director Stuart Gatt

- The mid-fest film is India premiere of About Dry Grasses by Turkish director Nuri Bilge Ceylan

- The Featherweight by director Robert Kolodny from the United States is the closing film. It is the Asia premiere of the film.

IFFI has scheduled a lineup of over 20 ‘masterclasses’ and ‘in conversation’ sessions with eminent filmmakers, cinematographers, and actors. From international names like Michael Douglas, Brendan Galvin, Brillante Mendoza, Theodore Gluck, John Goldwater to Rani Mukerji, Vidya Balan, Vijay Sethupathi, Sara Ali Khan, Pankaj Tripathi, Nawazuddin Siddiqui, Kay Kay Menon, Karan Johar, Madhur Bhandarkar, Manoj Bajpayee, Kartiki Gonsalves, Boney Kapoor, Allu Aravind, Gulshan Grover and Sunny Deol are expected to attend these sessions.

Restored classics section will feature 7 world premieres of restorations done by NFDC-NFAI under the National Film Heritage Mission (NFHM) from the damaged celluloid reels.

Director: Debaki Bose

Director: P K Atre

Director: K V Reddy

Director: Vijay Anand

Director: Chetan Anand

Director: Mrinal Sen

Director: Biren Nag

There might have been scores of stories centred on Mumbai and yet, every few years, a filmmaker has something new to tell about the city. Last week’s release Bambai Meri Jaan, in that sense, is familiar yet novel. The gangster drama, reportedly inspired by real-life characters, sees Kay Kay Menon play Ismail Kadri and Avinash Tiwary, his on-screen son Dara Kadri.

The real names must not be taken, the act of Voldermort-ifying it almost adding to the hype. Instead, we have reference points that are quite telling—Menon’s Ismail Kadri is an honest cop while his son Dara rises through the ranks to become the city’s most dreaded gangster. Tiwary immediately discourages us from connecting the dots, as he begins, “It is a fictional account of all the stories we have heard of the underbelly, and we have added our own colours to it. It’s a new painting!”

For co-creator and director Shujaat Saudagar, Bambai is the show’s primary character along with the protagonists Ismail and Dara. The Amazon Prime Video series, set in the ’60s and ’70s, harks back to the city it once was. “We had to visually get Mumbai right, but more importantly, we had to capture the experience that the city is. There is a pulse and euphoria to it,” says Saudagar.

In fact, the co-creator says he witnessed the “euphoria” second-hand through his US-based DoP (director of photography) John Smith, who first arrived in Mumbai in February 2020 to shoot the series. “We shot the first schedule over 20 days in February right before the lockdown. We restarted a year later on January 31, 2021. [Then] John got COVID and was stuck in a hotel room for nearly two months. We had to fly him out because it was monsoon by the time he got better [and we couldn’t shoot in the rains]. When he came back to shoot the next schedule, he was hit by dengue.”

Despite Smith’s harrowing time in the city, he is smitten by it, laughs Saudagar. “John jokes that he still wouldn’t mind settling in Mumbai if his wife agrees.”

Saudagar’s tryst with the gangster drama began in 2019 as he developed the story with co-creator Rensil D’Silva, and wrote it with Abbas and Hussain Dalal. He took it on floors in February 2020, unknowing that he was embarking on a tumultuous three-year journey. The first wave of the pandemic hit in March 2020, stalling his production. A mammoth set of old Mumbai that had been built in Madh Island lay unused for months, shooting up the show’s budget.

“During the first wave, for five months, we had no idea what was happening. There were fears we wouldn’t carry on at all. We had not shot in the Madh set for a single day. We rebuilt it twice over [over the subsequent months],” says the creator-director, who then filmed the show intermittently through 2021 and 2022. 

He wasn’t alone in living with the story for years. It was an equally demanding process for actors Menon, Tiwary and Kritika Kamra. Menon says that staying true to his role for over three years has been an elaborate process of switching on and off.

“If there is a long gap between two schedules, it’s no longer about the continuity of what you are wearing. It is also about the continuity of the character’s headspace. It is a re-investment of everything an actor puts into the character. I believe that an actor primarily is in the business of emotions. [You have to] re-process to immerse yourself into a scene whose last beat was shot a while ago,” says Menon.

Tiwary’s approach, however, was different. Contrary to his co-actor’s on-and-off process, Tiwary had become Dara for the past three-and-a-half years. “My mind hadn’t stopped thinking about Dara. For over three years, this was the only thing I had. When I chose it, I felt it needed an immersive dedication. I feared letting go of the character, because if I did, I would never be able to find that magic again,” recalls the actor.

In hindsight, he admits he could have “chilled a bit”, before telling Menon, “I want to get to a point like you where I can switch off and on.”

It helped that everyone on the set was on the same page. Tiwary recounts, “There were 300 people cheering for the same thing. I remember there were days I would walk in and they would call me Dara bhai. As an actor, I tend to do better when I am looked at in a certain way. It was fun getting the lingo right, and I enjoyed the touch of brotherhood, where every [line] ended with bhai.”

When telling a story about the mafia, novelists and filmmakers are sometimes faulted for glorifying them. The examples are many—from Gregory David Roberts’s ever-popular book Shantaram, to Vikram Chandra’s Sacred Games. Bambai Meri Jaan too adds a tinge of heroism to its morally ambiguous characters. Point this out to Saudagar, and he views it differently.

“Storytellers are merely telling a story, and there is a human fascination with the world of crime. Martin Scorsese’s entire repertoire is replete with great gangster films. The fascination exists because these are regular people who did deviant things and one wants to live vicariously through them. As a filmmaker, I don’t want to glorify or judge them. I want the audience to judge the characters. I only want to humanize [the characters]. It is futile in any society to glorify crime. There is a moral framework in this show where you see two men struggling to find their version of right and wrong. Here, we are telling the story of a family, the choices they made and how they dealt with its outcome.”

There has always been pressure to live up to the name and legacy created by my mother, Rati Agnihotri, especially when I started my career. I have often been referred to as a 'Nepo Kid,' which I have never liked because my journey has been very different. My mother was not in the industry for a long time before I entered films, so it would be unfair to say that I had easy access to opportunities. However, I am glad that things are changing now. I am being recognised and cast based on my previous projects, not solely because I am my mother's son

My mother (Rati Agnihotri) is my biggest critic. She watches all my shows and films, and there have been instances where my character is loved by the audience, but my mother would be unhappy. She points out the tiniest elements that I might need to improve. And if she loves my performance, she appreciates it wholeheartedly. Actor-to-actor communication is very helpful, especially when she has so much experience that comes in handy for me

I never envisioned myself becoming an actor. I was overweight and had a severe stammer, which led me to believe that I could excel in behind-the-scenes roles. So, I began working as an assistant director in movies and also wrote and directed short films. Even now, I hold onto the hope that someday I can unleash my untapped potential in storytelling and direction

Entering the world of OTT was not a conscious decision for me; rather, it was somewhat of a last resort to prove myself. Despite having done three films—Luv U Soniyo (2013), Purani Jeans (2014), and One Night Stand (2016)—I was still not getting offered interesting roles. Then, unexpectedly, OTT emerged as a viable option. Back in 2016-17, this medium was not as significant as it is now. However, I consider myself fortunate to have secured projects like Inside Edge, Code M, and Cartel in the initial years, which helped me maintain relevance within the OTT realm. Presently, I aspire to take another leap and reintroduce myself to the film industry, aiming for a successful career in both domains. Several projects are in the pipeline, and I hope to conclude this year on a high note

Each project has its own process, sometimes you play with your physique or your voice depending on the character. I focus a lot on how my character should look, because I believe if the look is correct half of your battle is won. Experimenting with your character is most important for any actor, otherwise you can keep on doing the same kind of role and that’s not what I like to do. For instance, as Vayu in Inside Edge I have paced up my speech since the character is like that, and in Cartel as Major Bhau, I have brought the thehraav that my character needs. Moreover, it is important to enjoy the process, and if you fail during experimenting it’s fine, not every dart sticks to the board, at least 1 out of 10 will

When you're working on a film, you know it will have a theatrical release, appealing to the masses and potentially eliciting varied responses. However, in the case of OTT, each streaming platform caters to a distinct audience base. This understanding helps in choosing the right projects and bringing your character to life in a way that doesn't disappoint the viewers.

I believe in staying true to the roles I select because it's easy for the audience to detect fake acting. I learned early in my career the saying, ‘You start acting when you stop acting,’ and this realization came to me when I had the opportunity to work with actors like Kay Kay Menon and Vijay Raaz. Being as authentic as possible on screen is what the audience loves.

As most creative talents in show business will admit, there’s no time like the present when actors and content creators can float between mediums with absolute ease and conviction. Like many other actors from the talented stock, Shahid Kapoor, too, decided to foray into the digital medium. Soon after the success of Kabir Singh (2019), he gave his nod to Raj & DK’s (Raj Nidimoru and Krishna DK) show, while he was working on the Bollywood remake of the Telugu hit, Jersey.

Talking about what led him to make that decision, Shahid told BT, “Look, the challenge is not the only reason you make a decision. A career is driven by many factors, and the decision-maker is the only one who knows why he is making a choice. He’s in the best place to do that. Hence, he must take the onus for whatever happens — good or bad. That is what I have learned in life. I hear everyone and do what I feel, and not what I always want. As an actor, you should try and do what you strongly feel about. I wanted to try another format of content, hold on to a character for eight-nine episodes. I have done films for 18-19 years now, and the one thing that can happen which I am afraid of, is that I will get bored and start doing it like an everyday job. I like something that is different from what I usually do. I love Kay Kay Menon and Manoj Bajpayee in their web shows — they’re breaking new ground and trying different things. It’s so hypocritical to discriminate between what you do and what you like to watch, especially for an actor.”

Shahid is currently prepping for the Hindi remake of the French film, which is dubbed as Sleepless Night in English. It will be helmed by Ali Abbas Zafar. “I am in the middle of the prep. It is a tough role, and Ali has his take on the story, which is good,” says Shahid, adding, “I am having fun, but it’s also quite an edgy piece to work on.”

Shahid says, “Every role becomes challenging when you get in the depth of it. It’s difficult to explain an actor’s journey with a role. You realise it when you get there, and that is what is exciting for me. I have tasted that in a few films that came my way. The opportunities I got required me to push myself harder and after that, it was like tasting blood. I sometimes want to punish myself for choosing a tough role. But when I am somewhat unsure, I chase things even harder. Of course, I also want to try something that’s a little chilled out, but will it excite me? I don’t know! Being on your toes and trying to cope with what’s in front of you is a good place to be in.”

While talking about exploring challenging spaces, one can’t help but recall that Shahid was expected to headline and produce the biopic on boxer Dingko Singh, who passed away recently. The said biopic was expected to be directed by Raja Krishna Menon, who has previously helmed films like Chefand Airlift. Shahid was supposed to play the title role of the boxing legend, but plans were put on a backburner post the release of Kabir Singh in 2019. The director, in a previous chat with BT, had even expressed how much it would have mattered to make and release the biopic on the pugilist who inspired an entire generation of boxers while he was still alive.

On broaching the subject, Shahid says, “The film on Dingko Singh is not on the cards right now. It was a very challenging role, but when the pandemic struck, I didn’t have the opportunity to train in boxing. The film required a lot of dedication and time to undergo intense training. Also, the film wasn’t entirely developed, in fact, it was at a nascent stage at that time.”

As filmmaker Anurag Kashyap’s Black Friday completes 15 years, actor Aditya Srivastava recalls how tough a period it was for them when the film was facing release problems. The film premiered at the 2004 Locarno International Film Festival and was supposed to release the same year in India. However, after a petition filed by a group accused of the 1993 Mumbai bomb blasts challenging the film’s release, Bombay High Court issued a stay. It finally hit cinemas on February 9, 2007.

“The mileage that it would have got with an immediate release would have been great. But that didn’t happen. It is sad that hume uss waqt se guzarna pada. Had it released [when it was supposed to], the film would have benefitted more, but the delay hampered it,” shares Srivastava.

Calling it a milestone in his career, the actor says, “It was an important film for me. When it was planned, I wasn’t meant for the role of Badshah Khan, I think Kay Kay (Menon) or Naseer bhai (Naseeruddin Shah) was supposed to do. Somehow it came to me.”

Based on the 1993 blasts, the film was a rather sensitive story. But Srivastavs says he had no apprehensions as he had complete faith in Kashyap.

“I believed in Anurag Kashyap, that he would pull it off. No one can deny his talent. As an actor, you look for good script and good roles, and that is how it was for me. The ensemble was so interesting. It was a dream role for me,” he concludes.

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Black Friday is a film very close to Pavan Malhotra’s heart. The actor, who played the role of Tiger Memon in it, found it a difficult one, but he is happy that people have often told him that he totally nailed the role.

Talking about the prep for the Anurag Kashyap-directed film which chronicles the events that led to the 1993 bombings in Mumbai, and the subsequent police investigation, Malhotra says, “I had the script first. Anurag told me to read Hussain Zaidi’s book Black Friday: The True Story of the Bombay Bomb Blasts. He said that the script was very close to the book and it would help me build the character.”

However, the actor still tried to get in touch with people who knew Memon. “Someone who said he knew Memon and said he was flamboyant and liked to dress well. And that he used to eat supari... After the film released, people told me that I played the role to a T. I was exactly how he was. I hadn’t met Memon, and yet cracking the role and people appreciating it even today is a big compliment for me.”

Malhotra says that his role, despite not having many scenes in the film, left a massive impact. “Memon ka role sabse kam hai in terms of scenes. But he still stands out. He’s the lead. It was a good experience working on this,” the actor adds.

Crediting Kashyap for pulling off a casting coup with actors like Kay Kay Menon, Nawazuddin Siddiqui, Zakir Hussain, Asif Basra and Gajraj Rao, Malhotra says, “The shoot went very smoothly. I had once asked Kashyap that in all his films he ends up choosing the best and he told me, ‘Main leta hi hun aise logo ko jo [talent se] bhare hote hain’.”

In November, mid-day had reported that Yash Raj Films, one of Bollywood’s premier studios, was gearing up to set foot in the field of digital entertainment (YRF goes OTT, November 12). Through his web offerings, head honcho Aditya Chopra wanted to take stories rooted in India to the world, and he has remained true to his vision. For YRF Entertainment’s debut OTT series, the makers have gone back to one of the bleakest nights in Indian history — The Railway Men offers a retelling of the 1984 Bhopal gas tragedy with the focus on the railway workers at Bhopal station who saved countless lives.

Revisiting the world’s worst industrial disaster will be an uphill task. Chopra has placed his faith in debutant director Shiv Rawail, son of veteran filmmaker Rahul Rawail, for the job. The limited series will be headlined by R Madhavan, Kay Kay Menon, Divyenndu and Babil Khan. A source reveals, “While Yash Raj movies are known for their star-studded cast, Adi knew that the show, given its subject, hinges on rock-solid performances. After months of discussing names, the team zeroed in on Madhavan and Kay Kay, two of the finest actors we have today.”

The narrative will take viewers through the late hours of December 2, 1984, when methyl isocyanate gas leaked from the Union Carbide Corporation’s pesticide plant, injuring more than half a million people and claiming over 5,000 lives. The series — mounted on a budget of Rs. 100 crore — went on floors yesterday in Kalina, Mumbai, where a large set has been erected.

Yogendra Mogre, producer of House of Secrets: The Burari Deaths, will creatively supervise the project. Currently serving as executive producer at YRF Entertainment, Mogre says, “We won’t leave any stone unturned to ensure that The Railway Men reaches out to worldwide audiences so that they can understand the devastation that this tragedy caused in India.”

The series will mark the first of five OTT projects slated for 2022. Akshaye Widhani, senior vice president, Yash Raj Films, adds, “This is our tribute to the unsung heroes of the tragedy who, despite saving thousands of lives, are unknown to people across the world.”

The drama is slated for a December 2, 2022 release, with the makers currently locking the streaming platform.

With the growing popularity of OTT platforms in the country, the content being churned out for the medium has also multiplied, starting a conversation whether quality is being sacrificed in the race to be ahead in quantity. But actor Kay Kay Menon doesn’t see any red flag at the moment. Rather, he feels that the digital medium is full of exciting opportunities and has given actors like him their due.

“It (the good and bad content) is a part and parcel of anything that we do, be it any medium,” says Menon, whose career has found a new lease of life through his work on web, especially the character of Himmat Singh from the Special Ops universe.

He believes that any medium can be misused, but that as long as OTT makers are conscious of the content, then there’s nothing we should be afraid of. Here, the actor brings up the role the audience plays in maintaining the sanctity of the medium, calling them intelligent.

“You can’t bluff them by giving them a few dances here and there. You have to be very sure of the content that you are providing. That’s also because mass psychology doesn’t work here, which works for mainstream cinema. As a result, you will always find more good content on OTT,” adds the 55-year-old, who described how OTT viewing is synonymous to reading a novel individually.

However, that doesn’t mean there won’t be any adulteration. “But (in case there is adulteration) people will reject them immediately. The audience has the button in their hands. More good content will be available at any point in time. On OTT, one can’t survive by producing less quality content,” he stresses.

It has been almost three decades since Menon embarked on a journey to make a name in Indian showbiz, and has received recognition for performances in films like Hazaaron Khwaishein Aisi (2005), Black Friday (2007), Gulaal (2009), Shaurya (2008), Life in a Metro (2007), Haider (2014), and Baby (2015) — but he feels he is just starting to get his due — all thanks to the OTT.

On the web medium, he has proved his mettle with The Great Indian Dysfunctional Family, The Last Chapter, Ray and Special Ops, with fans calling him ‘desi Bond’ for his avatar as an agent, Himmat Singh. “I have been in the industry for the last 26-27 years, and people who were four or five when my initial work was released, are adults. They are watching my past work now. And it is quite a revelation for them that an actor can perform like this,” he says with amusement.

Further, he adds, “They go back and watch your work in retrospective. Even youngsters are watching shows, like Special Ops 1.5: The Himmat Story, and getting to know about your journey, and complimenting you, that ‘this actor has potential’,” he adds with a laugh.

And these are some of the instances through which he derives motivation. “The web platform has revived the interest of the audiences in actors like me and Manoj Bajpayee. And that’s such a good thing,” says the actor, who is enjoying exploring the digital world.

He has a lot of projects he is working on. “But I am not allowed to talk about them, I will talk about it once I get an official go ahead,” he wraps up.