When you understand the main narrative of Killer Soup, the term “one by two” takes on a horrible meaning. Even more bizarrely, the Netflix series, which stars Manoj Bajpayee and Konkona Sensharma and premieres on January 11, is partially based on true events. A Telangana lady killed her husband in 2017 and then pretended to be her late spouse. A fatal difference in eating preferences—indicated by a bowl of mutton soup—was what ultimately exposed them. Reports at the time said that the identity-switching Allu Arjun film Yevadu (2014), a remarkable example of cinema flowing into life and feeding back out, served as inspiration for the original offenders.
Bajpayee and Sensharma discuss their debut collaboration, the subtleties of comedy acting, and Indian cinema’s unhealthy fixation with box office numbers in an interview with The Hindu.
How was working on Killer Soup with not one, not two, Manoj Bajpayees?
Konkona: I would often get into a terrible attitude when Manoj arrived on set as Prabhakar, dressed in these gaudy, loud outfits, chatting loudly, and acting impolitely. However, I would always look forward to seeing him as Umesh since he is a kind and loving guy. The most fascinating part was when he would appear as Umesh posing as Prabhakar. My character would occasionally express animosity at Umesh because of Prabhakar. I have to keep in mind that they aren’t the same. It’s intriguing to consider what we genuinely think of individuals, what we desire them to be like, and how their personalities affect us.
The fact that the two of you have never worked together before is remarkable.
Konkona: Is it really true? Manoj and I have always wanted to collaborate, but for some reason, we’ve never had an offer to do so. I am appreciative to our director, Abhishek Chaubey, for bringing it to fruition at last.
Manoj: I’ve been observing Konkona’s work and have long loved it. She is not only a fantastic performer but also a gifted writer and director. It was noticeable in her first feature film, A Death in the Gunj (2016), and it’s much more noticeable in her short film, The Mirror in Lust Stories 2. It was, in actuality, my favorite movie of 2023. She created such exquisite characters, and there is such lovely interpersonal connection between them.
In light of it, have you ever desired self-direction?
Manoj: I have never considered the idea, no. As an actress, I’m content.
Konkona: He also doesn’t have any free time.
Manoj: They both have similar significance. It has the same weight. When it comes to humor, I believe that everything must seem really genuine and plausible until a precipitous collapse occurs. It becomes a comedy of situations. However, you have to make sure that it stays within the realm of truth in the situation. It remains a component of the scene. Anything may make a situation appear oddball or humorous, whether it be through an attitude, a gesture, or a movement, but as an actor, that is not what you are here to do. Your goal is to remain there, to be present in the moment without drawing too much attention to yourself.