As a film enthusiast who has spent countless hours engrossed in the rich tapestry of cinematic storytelling, I find myself captivated by the groundbreaking romantic comedy “A Nice Indian Boy.” Having witnessed the evolution of on-screen representation over the years, it is heartening to see a film that seamlessly blends cultures and challenges Hollywood norms.
Jonathan Groff‘s rendition of Bollywood melodies serves as the focal point in “A Nice Indian Boy,” an innovative romantic comedy with a gay theme, which is generating buzz at the BFI London Film Festival.
Director Roshan Sethi, along with actors Groff known for “Mindhunter,” “Glee,” and “Doctor Who” and Karan Soni famed from the “Deadpool” series, are breaking traditional Hollywood standards by presenting a unique cross-cultural romance story. This groundbreaking production, premiered at SXSW, aspires to offer a novel outlook on both LGBTQ+ and South Asian screen portrayals.
The origins of this project can be traced back to the year 2019, when Levantine Films acquired the rights to Madhuri Shekar’s play with the same title and Eric Randall rewrote it into a screenplay. In the year 2021, Sethi joined the team following the producers’ appreciation of his previous work “7 Days.” Later on, he invited his real-life partner Soni to co-star in the project. Groff agreed to participate after watching “7 Days.
In America, this movie revolves around shy medical professional Naveen (Soni), who introduces his partner Jay (Groff) – a white orphan artist – to his conservative Indian family. The story unfolds as they grapple with accepting Jay and organizing the perfect traditional Indian wedding for them both.
According to Soni, they found it incredibly personal to create this project, always striving to portray what felt authentic to them, based on their own experiences. This personal touch carried over into decisions about the characters, such as making one of them a doctor. Initially, the character wasn’t a medical professional in the script, but when Soni and Roshan (a real-life doctor) collaborated, it seemed fitting. The reserved nature of the character was mirrored in the practice of medicine in many ways.
Sethi expresses that he doesn’t fret over the representation of South Asians being stereotypical or authentic, as each individual possesses their unique lived experiences. He believes that if a film is based on one’s personal experiences, whether it mirrors a stereotype or not, is immaterial.
Sethi points out an intriguing aspect about today’s ‘diversity films.’ They often lack the complexity and intermingling we see in real life, as they predominantly focus on one specific ethnic group, such as Asian, Indian, black, or white. This film, however, stands out by showcasing a blend of cultures coming together,” Sethi states.
For Groff, who portrays a white character raised by Indian parents, the part necessitated delving into a culture he was largely unaccustomed to. “I had never watched a Bollywood movie,” Groff admits, “and I knew very little about this culture in general.” To authentically perform a crucial musical scene in the film, his preparation involved watching the Bollywood classic “Dilwale Dulhania Le Jayenge” (DDLJ).
In this movie, a standout moment is when Groff’s character sings the timeless tune “Tujhe Dekha To Ye Jana Sanam” from “DDLJ.” As Sethi explains, what made this scene particularly captivating was that Groff unexpectedly sang in falsetto, using a series of high-pitched notes. “I didn’t realize he would do that trilling thing,” Sethi remarks. “The reaction was electric,” Soni chimes in.
Despite its cultural differences, Groff found the family dynamics remarkably relatable. “From the very first scene I was struck by how familiar everything seemed,” he explains. “Though there was a significant gap in cultures, it was heartening to realize that families are universal – they remain families regardless of which culture you’re observing.
The project encountered major hurdles, largely because of a tight deadline. Sethi disclosed they only had four weeks for preparation before shooting, which spanned 21 days with six-day workweeks. Essentially, it was like a small independent film squeezed in among larger, more expansive situations. He was referring to Soni’s involvement with “Deadpool” and the impending SAG-AFTRA strike as these broader circumstances.
In my experience, financing this film was nothing short of a challenge. “It was touch and go, scraping together resources, hunting for funds, enduring years of struggle,” I found myself saying. Interestingly, it was Andrew Groff’s involvement that made all the difference in securing the necessary funding. As Sethi points out, most Indian actors are not considered significant enough to attract financing. He goes on to describe Hollywood as one of America’s most racially biased industries.
For Sethi, who continues to work in medicine, the film serves as a significant personal achievement. “Six years ago, I was in the closet, and now I’ve had the opportunity to create this deeply personal production,” he shares. “I never would have thought, when I was walking through the hospital halls as a straight doctor, watching ‘Looking’ on HBO, that I would one day be open, let alone making this movie.
Soni expressed a similar thought: “I began trying out for roles in Hollywood back in 2009, and I never would have envisioned, firstly, landing a main role, and secondly, for it to be something so deeply connected to my own experiences.
“A Nice Indian Boy” is slated for a theatrical debut in the opening quarter of next year, with streaming availability to follow. The creators are hopeful about its market potential, attributing it to favorable feedback from varied test viewers. Notably, white women consistently provided the highest ratings during film screenings, as pointed out by Sethi.
The team anticipates the movie will connect with audiences beyond specialized groups. As Sethi points out, one challenge with the supposedly diverse film and representation movements is that they can make these movies seem like they are meant for a narrow audience. However, true diversity in storytelling should broaden the scope of narratives, uncovering fresh and intriguing tales to captivate people, not restrict or confine it – rather, it enriches and invigorates art.
With the broader launch of the movie approaching, the actors are shifting their focus towards fresh endeavors. Soni will feature in the suspenseful production titled “Fade to Black,” whereas Sethi is engaged in writing a novel romantic comedy, hinting at a return to stories involving heterosexual characters. Groff, having recently won a Tony for his role in “Merrily We Roll Along” on Broadway, is making his way back to the stage with “Just In Time,” a new musical that explores the life and era of singer Bobby Darin.
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2024-10-14 14:17