Karan Soni and Jonathan Groff on A Nice Indian Boy and why there’s nothing gayer than an Indian wedding

As a film enthusiast who has had the privilege of traversing through diverse cinematic landscapes, I must say that my heart resonates profoundly with the experiences shared by JG and KS. The impact of “Will and Grace” on both their lives, especially during crucial stages of self-discovery and acceptance, is a testament to the transformative power of media in shaping societal norms and individual perspectives.

The Rainbow Crew is a continuing interview collection that honors top-notch LGBTQ+ portrayals on screen. Every episode features individuals involved in various aspects of production, encompassing both queer artists and supporters of the community.

Next up, we’re speaking to A Nice Indian Boy stars Karan Soni and Jonathan Groff.

As a gaming enthusiast, it feels like I’ve stepped back into the golden age of romantic comedies from the noughties, but these beloved movies have evolved in a refreshing way. The familiar tropes that made us laugh and sigh are still there, providing the same fun-filled moments. However, what sets them apart now is the diverse range of stories they tell. It’s not just about straight, white romances anymore, which makes every love story feel more relatable and enriching.

Behind every popular movie like “Anyone But You”, there’s another film that promotes inclusivity, such as “Bros”, “Fire Island”, and the latest addition, “A Nice Indian Boy”. These movies are causing quite a stir by offering a fresh, gay perspective on the classic Hollywood formula.

Featuring Karan Soni and Jonathan Groff, the film “A Nice Indian Boy” commences with an exhilarating love story between Naveen and Jay. However, complications arise when Naveen’s family unexpectedly enters the picture, leading to a beautiful, heartfelt movie that resonates perfectly. What makes this film unique is its delightful Indian twist, setting “A Nice Indian Boy” apart as a truly exceptional piece of cinema.

I’d rephrase it as: I spoke with actors Karan Soni and Jonathan Groff about uncomfortable serenading, interracial romance, and the unique appeal of Bollywood that transcends gay culture.

In this new wave of queer storytelling that’s breaking through to the mainstream, we have productions like Heartstopper, Love, Simon, Bros, and Fire Island. So, where does A Nice Indian Boy fall within this movement of contemporary queer filmmaking?

Karan Soni: This film appears to have a special focus on families, not just the two main characters who happen to be gay men. Instead, it delves into how family dynamics are impacted, which is quite significant in Indian culture where family ties run deep and often influence major decisions. For the most part, you can’t make significant moves without their blessings.

I was raised in India, and it’s amusing to observe that in America, individuals typically leave home at 18 and gain a lot of freedom. However, this isn’t our reality. In Indian stories involving a gay character, parents play a significant role. This element was present in the original play and is also reflected in the movie.

In our limited viewings of the movie thus far, it has resonated deeply with people from that era, stirring strong emotions within them. This is largely due to its sensitive and compassionate portrayal of their experiences and viewpoints, regardless of their ethnic background – be it Indian or any other.

Jonathan Groff: It’s significant to mention that in reality, [director] Roshan [Sethi] and Karan are a couple. The genuine, authentic love between the lead actor and director was palpable at every instance on set. Every team member, including myself, found themselves deeply moved by their relationship.

“For an Indian gay story, the parents have to be there in some form.”

It seems quite special when a romantic comedy, specifically a gay romantic comedy, is both directed and acted by a pair. This setup gives the whole viewing experience a warm, familial feel, brimming with affection.

KS: With the “vibrations”, were you being literal there? Emotional? [Laughs].

JG: You know what vibrations I’m talking about, Karan [Laughs].

When it comes to vibrations, singing plays a significant role in crucial sequences, such as the initial date between your characters. On this occasion, Jay serenades Naveen with a Hindi song from Dilwale Dulhania Le Jayenge (DDLJ), a beloved Bollywood classic. Let’s hear from Jonathan about his experience learning the lyrics and performing on set.

From what I understand, one person who interviewed us estimated my pronunciation to be approximately 90%.

In a hotel room in Vancouver, I was transcribing the song lyrics phonetically. Since my character, Jay, speaks Hindi, I needed to understand the phrases, although as an actor named Jonathan, I didn’t actually know their meaning.

Performing the role brought me a lot of joy and I didn’t feel awkward at the moment. However, when I watched the movie later, I found it hilarious how awkward my performance seemed, especially since the scene was written in such a way that it alternates back and forth. This helped me anticipate the unexpected parts of the script.

But it was so funny to see the pairing of that singing with the scene. It really made me laugh.

Karan, you sometimes find yourself immersed in an awkward yet charming moment during scenes from DDLJ, mimicking the movie’s feel. This leads up to the grand proposal, which makes it all the more endearing. Could you share with us your personal insights on portraying a Bollywood classic so vividly and emotionally?

I absolutely enjoy performing exaggerated acting and dramatic expressions, which is quite abundant in that song since it’s based on an older film with a unique genre. This involves plenty of intense eye closures, emotional grasps, and various other theatrics. We carefully incorporated some scenes directly from the movie, making them brief takes but incredibly entertaining to shoot.

In other romantic comedies, we’ve encountered similar plot elements, but in this case, the narrative is uniquely rooted in a specific culture, giving a fresh twist to these familiar tropes and keeping the unexpected elements engaging.

In a different tone, let me say this: The film’s style is quite unconventional, yet effective, I believe. That particular scene is hilarious, followed swiftly by a serious moment where I find myself in the same costume, proposing in reality. Every time I watch that scene, I can’t help but cry. The way it switches between these two contrasting emotions… It feels incredibly genuine and romantic, yet somehow absurd at the same time. All these contradictory feelings coexist, making the movie’s overall tone vibrant and joyful.

This joy is juxtaposed with more serious moments too. For example, I really appreciate how the pressures of being an interracial couple are brought in, but not just from the family’s perspective. We also see how Naveen and Jay have to deal with that within the relationship between them too. That’s not something we see often in any romcoms, let alone a gay one.

At first, when they were seeking funds for the film and making presentations, Director Roshan and the producers conversed with numerous interracial couples, not just those who identify as LGBTQ+. Many of these couples shared a common tale of adapting to a distinct cultural environment. This experience is familiar to many individuals.

What resonates with me about the story is its relatability to today’s world, as interracial relationships are more common than ever in 2024. It seems that there are many individuals who strongly cling to their cultural roots, particularly in America, from one generation. On the other hand, we find the next generation, born and raised in a new environment, striving for assimilation.

“In Indian-American culture, there’s a lot of drama still if you bring home a white boy or girl.”

It feels like a very modern American story, which in this case, just happens to be two men having that experience. But especially in Indian culture, I know for sure in Indian-American culture, there’s a lot of drama still if you bring home a white boy or girl.

Recently, my friend got married to a woman who comes from a deeply religious Christian background. Interestingly, he himself is from a traditionally Hindu family. The wedding was quite the spectacle due to the cultural differences, as she began learning Hindi in preparation for this union [laughs, it’s almost like watching a movie!].

In our situation, we found ourselves immersed in a multitude of tales, and as soon as we’d explain the plot of the film, people would often respond, “I find this familiar. My relationship with my mother-in-law improved when I learned to prepare that specific dish, which is part of their cultural heritage.

I think it makes the movie really special and unique. It just so happens to be that the couple is two handsome, strapping young men [Laughs].

In our discussion, you brought up the topic of drama, which led us to the climax of the movie and that stunning scene at the wedding. A line from there is, “Nothing is more flamboyant than Bollywood,” referring to its extravagance and grandiose expressions of affection. Could you elaborate on your thoughts about the ending and why it fits so perfectly within the broader narrative of the film?

On Saturday, I watched the film for the very first time, and I was genuinely surprised by how cleverly Roshan and Randall, the screenwriter, drew the parents into the plot at the climax.

Zarna Garg’s speech took me by surprise because at first glance, I thought the story was a romantic comedy featuring two male characters. However, as I continued to watch, I realized it was actually about a brother and sister, and then later about a married couple – their relationship, not just as parents, but as husband and wife. This unexpected twist really tugged at my heartstrings while watching. It’s so skillfully done, subtly drawing you in to the emotional depth of the story.

At the finale, nothing could be more heartwarmingly vibrant than an Indian wedding celebration. It’s particularly touching to witness such an extravagant dance that emphasizes unity in all its aspects; unity of the two male participants, unity of a new family member, and the father extending his hand during the dance symbolizing acceptance and belonging. For something so excessively colorful and expressive, it manages to strike a chord by being deeply truthful, emotional, and tied to genuine relationships…

During the moment of filming it, I was utterly astonished by the dance and music, yet upon rewatching, I was deeply moved by its profound layers. It seemed to shed light on the essence of ceremonies. Essentially, it felt like, “Ah, this is why we have ceremonies.” To highlight this crucial intimate bond.

Celebrating and acknowledging the special moment shared by these individuals felt more like the opposite of intimacy, yet it was incredibly moving and authentic. This is essentially what weddings are all about.

“There’s nothing gayer to me than an Indian wedding.”

Jonathan, here’s an interesting tidbit: The dance wasn’t part of the initial script. It was actually suggested by our producer, Renee Witt, who is a woman and happens to be Caucasian.>

frankly speaking, when it comes to working in Hollywood as a South Asian, there’s often an expectation that you should be able to dance. However, Rosh and I firmly stated that this is both racist and offensive.

The conversation culminated with the mom’s address, or something similar in the original. Subsequently, one of the financiers was enamored by RRR, particularly appreciating the Oscar-performed song. This coincided with our script revisions, and they expressed a strong desire for a song to be included.

In the end, we mused, “Since it’s a wedding, there must be dancing. Perhaps we could incorporate this into the narrative, perhaps during the credits.” Now, Rosh and I have watched the film numerous times, and we can’t envision another conclusion for the story. We are grateful she proposed that idea, as it offers a fitting, jubilant end to our tale.

Reflecting on the past, can you recall a unique TV series or movie that left a profound impact on you, one that seemed to touch your emotions deeply and speak directly to your heart?

Two thoughts pop into my head instantly. One is reminiscing about my time in middle school, specifically when I first watched the premiere of “Will and Grace.

In the closing moments of the pilot, they find themselves in a bar sharing a kiss to test their compatibility. My youthful heart fluttered, thinking, “Oh dear, are they really going to be together?” Then, there’s a comical twist as they pull away and joke about it not being likely.

As a closeted individual, the prospect of this upcoming show featuring gay characters was like a breath of fresh air. At that moment in my life, I had yet to experience any form of romance with a male counterpart. In fact, I wasn’t even close to that milestone at the time. However, the simple act of seeing such representation offered me a sense of relief and validation.

In 2011 or 2012, I watched the film “Weekend” at the IFC Center. It was my first time seeing a ‘gay’ movie that made me feel like the story on screen mirrored my own life. The way Andrew Haigh filmed it, capturing intimacy, sex, humanity, and conversations, truly resonated with me. That film had a profound impact on me.

“We really cannot imagine the movie ending any other way.”

My suggestion: I also enjoyed ‘Will and Grace’, as prior to that, many American TV shows I watched in India portrayed homosexuality in a shameful or secretive manner. Statements like “Oh my god, I caught them kissing” reinforced this feeling within me, as it was similar to how I felt inside. This show, however, broke the cycle by presenting gay characters more positively and openly.

My parents often enjoyed watching the sitcom “Will & Grace.” Since it was so common for them to watch and chuckle at it, I’m not sure they fully grasped its meaning. Regardless, they adored Sean Hayes because of his flamboyant character. We never had discussions about the show, but we would frequently watch episodes on DVD. Despite our lack of conversation, the memories of us watching that program have stuck with me.

Later on, in an impulsive fit, I had the chance to act out a single scene in the revamped “Will and Grace”, during its third season. It was just a brief moment. They asked me, “Would you like to do this?” To which I eagerly replied, “I’m game for anything.” In the role, I portrayed a pizza delivery boy who flirted with Debra Messing’s character, surprisingly enough, as I am straight [laughs].

For such a prolonged period, I had let the thought slip away from me. But when I stepped onto that set, it seemed eerily similar to the one from the TV series, creating an incredibly surreal and intense experience.

The film titled “A Nice Indian Boy” made its debut at the London Film Festival in the UK. It’s anticipated that a broader release will take place in early 2025.

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2024-10-17 14:50