With the release of the new Byomkesh Bakshi series on Addatimes, audiences have been showering praise on Gaurav Chakrabarty for his nuanced and compelling portrayal of the iconic truth-seeker. Blending a classical understanding of the character with a renewed sense of maturity and presence, Gaurav’s performance has struck a chord with both longtime fans of Byomkesh Bakshi and a newer generation of viewers. In this candid t2 chat, he opens up about revisiting a role he once inhabited over a decade ago, the challenges of balancing legacy with reinvention, and how this latest iteration aims to stay true to the original text while embracing a distinctly modern storytelling approach.
What really convinced you to take on this project? Was it the approach?
I have played Byomkesh before and explored these stories multiple times, so for me, there had to be something new — something different that we could bring to the table. At the same time, I was very clear about one thing: I did not want to alter Byomkesh’s core characterisation. Byomkesh has a very specific personality. I wanted to approach him in that classical, literary sense. So my intention was to keep the character rooted in its original essence.
What excited me was that director Aritra Sen wanted exactly that. He said, “You play it classically, and I will present it in a modern way.” That balance — between classical performance and modern storytelling — was what sealed the deal for me. It ensures that the essence of Byomkesh remains intact while still making the series accessible and engaging for a contemporary audience.
So the character remains classical, but the making is modern?
Yes, exactly. The making is very modern — the cinematography, editing style, music, and overall pacing all reflect a contemporary sensibility. The background score, for instance, has a very fresh and modern texture. But the performances are rooted in a classical approach. That contrast creates an interesting dynamic. I genuinely feel this combination hasn’t been explored in Bengali storytelling in quite this way before.
You’d played Byomkesh before, over a decade ago. What was your initial reaction when you were offered the role again?
My first reaction was actually hesitation. I even texted Aritra saying, “I will need some convincing.” And that was honest. My immediate thought was, “Why Byomkesh again?” It’s a question everyone asks — why revisit the same character? But once I heard the vision and read the script, things changed completely. The script was sharp, crisp, and engaging. It didn’t drag at any point. It was intelligent and fast-paced, which really appealed to me.
Another important factor was that the rights are currently with one producer. That means there won’t be multiple Byomkesh adaptations happening simultaneously across different platforms. This prevents dilution of the character and maintains a certain exclusivity and integrity. Also, I realised something about myself — I was probably a bit too young when I first played Byomkesh. Over the past decade, I’ve matured both as a person and as an actor. That maturity adds depth to my understanding of the character now.
How does that experience influence your current portrayal?
It helps immensely. I’ve essentially lived as Byomkesh for an extended period — shooting almost every day for a year. That kind of immersion is rare. I’ve experienced how he reacts in different situations across all his cases. Because of that, I now have an instinctive understanding of the character — how he thinks, how he behaves, how he processes information. That’s something I bring into this version as well. I don’t think many actors have had the opportunity to explore the entire spectrum of Byomkesh’s stories like that. So naturally, that experience becomes a strong foundation for this iteration.
Did you approach the character differently this time compared to your earlier portrayal?
The fundamental approach remains the same — I’ve always played him in a classical manner. But two things have definitely changed. First, there’s a noticeable maturity in my performance. That’s something viewers will hopefully feel when they watch it. It’s not something I can easily explain — it’s more about subtle nuances, body language, and internalisation.
Second, this version of Byomkesh has a slightly larger-than-life energy. There’s more dynamism, more presence. The character evolves into a more confident and assertive version of himself. In the first story, since it’s his early case, there’s a certain innocence or naivety. But in the second, he becomes more self-assured — more in line with the Byomkesh we recognise from the books.
Did you discuss the role with other actors who have played Byomkesh Bakshi before?
No, not really. I didn’t do that earlier, and I didn’t feel the need to do it this time either. I have my own notes and understanding now. Also, I wanted to be creatively involved in this project. I didn’t want to just show up, perform, and leave. I wanted to contribute to the process. The director was very open to that. There were certain dialogues and situations where I felt strongly about how they should be executed, based on my understanding of the character. He was kind enough to consider those inputs. That level of involvement made the experience much more fulfilling for me.
There’s a legacy attached to Byomkesh Bakshi. Did you feel that pressure?
The first time I played Byomkesh, I did feel that weight — the legacy of actors who had portrayed him before me. But my father (Sabyasachi Chakrabarty) gave me very valuable advice. He told me to treat it like any other role. If I kept thinking about who played it before, I would never be able to do justice to it. He also advised me not to revisit previous performances. That advice helped me immensely then, and I followed the same approach this time. I consciously removed the idea of “legacy pressure” from my mind and treated this as a fresh character.
Byomkesh Bakshi is often seen as more relatable compared to other detectives. How do you view that aspect?
That’s one of the most beautiful aspects of the character. Byomkesh is not a flamboyant or overtly heroic figure. He’s a very ordinary Bengali man —a family man, someone who enjoys simple pleasures like food and home life. He doesn’t appear extraordinary at first glance. But when faced with a challenge, something extraordinary emerges from within him. That contrast is what makes him so compelling. He’s grounded, relatable, and yet intellectually brilliant. That balance is rare and sets him apart from other fictional detectives.
The series is set in the past, but it aims to connect with modern audiences. How does that work?
The idea of a truth-seeker is timeless. That doesn’t change with generations. What changes is the presentation. Today’s audience consumes content differently — they are used to faster pacing, sharper visuals, and a certain storytelling style. So while the core remains the same, the execution has been adapted to suit contemporary sensibilities. That’s where the “modern making with classical approach” comes in. It’s about introducing Byomkesh to a new generation without compromising his essence.
How was your experience working with Aritra Sen?
It was fantastic. He had a very clear vision from the beginning — how he wanted scenes to look, how characters should be framed, the overall tone. That clarity makes an actor’s job much easier. At the same time, he was open to suggestions, which created a collaborative environment. Technically, he’s very strong, and he also understands emotional storytelling well. That combination is ideal for a project like this.
The series has a film noir aesthetic. Did that influence your performance?
Not significantly in terms of character approach. But yes, there are technical adjustments — like lighting positioning or camera angles. The noir style mainly enhances the atmosphere. It adds a certain mood and visual identity to the series. I’m glad it’s coming across because that was a conscious decision by the director.
Why do you think these stories remain relevant even today?
It comes down to the writing. Great writing is timeless. Sharadindu Bandyopadhyay’s writing has that quality. The stories don’t feel outdated because the themes, the characters, and the storytelling are so strong.
Have there been any major changes from the original texts?
No major changes. We’ve stayed very true to the source material. Of course, when adapting literature into a visual medium, some adjustments are necessary. Not everything translates directly from page to screen. But those changes are minimal. The intention was to respect the original text and not alienate readers who are familiar with the stories.
What can audiences expect from this series?
A fresh take on Byomkesh that still respects the original character.
We’ve tried to walk a tightrope — staying true to the text while making it engaging and visually appealing for modern viewers. There’s a certain scale, a certain energy, but at its core, it’s still the Byomkesh Bakshi people know and love. I genuinely hope the audience enjoys this version of Byomkesh. A lot of thought, care, and passion have gone into creating it.