Gay Rom-Com ‘A Nice Indian Boy’ Unites ‘Deadpool’s’ Karan Soni, Jonathan Groff and Roshan Sethi: ‘Everyone Was Turned On’
Jonathan Groff singing Bollywood tunes is the centerpiece of “A Nice Indian Boy,” a groundbreaking gay rom-com that’s heating up the BFI London Film Festival.
Director Roshan Sethi and stars Groff (“Mindhunter,” “Glee,” “Doctor Who”) and Karan Soni (the “Deadpool” franchise) are challenging Hollywood norms with their cross-cultural love story, which debuted at SXSW. It aims to bring a fresh perspective to both LGBTQ+ and South Asian representation on screen.
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The genesis of the project traces back to 2019, when Levantine Films optioned Madhuri Shekar’s play of the same name and Eric Randall adapted it as a screenplay. Sethi came aboard in 2021 after the producers saw his previous film “7 Days.” He then approached his real-life partner Soni to co-star. Groff signed on after watching “7 Days.”
Set in the U.S., the film follows socially-reserved doctor Naveen (Soni) who brings his fiancé Jay (Groff) home to meet his traditional Indian family, who must contend with accepting his white-orphan-artist boyfriend and helping them plan the Indian wedding of their dreams.
“It was probably the most personal thing we’ll get to make,” says Soni. “We just always tried to [do] what feels real to us, to our experience.” This personal connection extended to specific character choices. “The character wasn’t originally a doctor in the script,” Soni explains. “When Roshan [a qualified medical doctor] and I worked a little bit on the script, it just felt right. It was so much of like the reserved part of the character would come out in medicine in many ways.”
Sethi says that they weren’t concerned about representation or stereotypes. “I personally am not worried at all about representation of South Asians being stereotypical or not stereotypical, because everyone has their lived experience,” he says. “If you are making a movie that reflects your lived experience, whether or not that’s a stereotype is irrelevant.”
“I do think what’s interesting about the current era of ‘diversity films’ is that they tend to be very homogeneous. They’re all Asian or they’re all Indian, or they’re all black or they’re all white, in the exact opposite case, and the reality of our world is that we’re all mixed up with each other in tangled, messy ways. And this movie very much reflects that, because you have a meeting of cultures,” Sethi says.
For Groff, who plays a white character adopted by Indian parents, the role required immersing himself in a culture he was largely unfamiliar with. “I had never seen a Bollywood movie. I didn’t know anything about this culture in general,” Groff says. His preparation included watching the Bollywood classic “Dilwale Dulhania Le Jayenge” (DDLJ) to nail a pivotal musical moment in the film.
This scene, featuring Groff’s character singing the evergreen “Tujhe Dekha To Ye Jana Sanam” from “DDLJ,” is a highlight of the film. “I didn’t know that he was going to do, like, a falsetto, la, la, la, la, la – that trilling thing,” Sethi says. “Everyone was turned on,” Soni adds.
Despite the cultural specificity, Groff found the family dynamics surprisingly relatable. “I, immediately from the first take of the first scene, couldn’t believe how familiar it all felt,” he says. “Even though there was a stark difference in culture, it was so heartwarming to see that families are families, no matter what culture you’re in.”
The production faced significant challenges, primarily due to a compressed timeline. Sethi reveals they had just four weeks of pre-production and a 21-day shoot with six-day weeks. “We were just like this tiny indie movie that was crammed in between these other much larger, broader circumstances,” he says, referring to Soni’s commitment to “Deadpool” and the then-looming SAG-AFTRA strike.
Financing the film also proved difficult. “We barely got this movie made. We barely found the money. We struggled for years,” Sethi says. He notes that Groff’s involvement was crucial in securing funding. “None of the Indian actors are deemed meaningful enough to obtain financing,” Sethi explains, calling Hollywood “one of the most racist industries in America.”
For Sethi, who still practices medicine, the film represents a personal milestone. “I was closeted six years ago, and now I got to make this movie, which is highly personal,” he says. “I could never have imagined when I was like, walking around the hospital as a straight doctor, watching [HBO’s] ‘Looking,’ that I was going to like be out, much less like be making this movie.”
Soni echoes this sentiment: “I started auditioning and stuff in Hollywood in 2009 and I could have never imagined, one, having a lead role in something, and then two, for it to be such a personal thing about so much of the stuff that I have been through.”
“A Nice Indian Boy” is set for a theatrical release in the first quarter of next year, with streaming plans to follow. The filmmakers are optimistic about its commercial prospects, citing positive responses from diverse test audiences. “When we were testing the movie among audiences, the highest scoring audience was always white women,” Sethi notes.
The team hopes the film will resonate beyond niche audiences. “Part of the other issue with the so-called diverse film and representation movements is that they’ve made those movies feel like they are for niche audiences,” Sethi says. “The truth is diversity should be an opening up of storytelling where you’re finding more and more interesting and more new stories to tell people, but just vitalize art. They don’t splinter it, they don’t make it more niche. They vitalize it.”
As they prepare for the film’s wider release, the cast is moving on to new projects. Soni is set to star in the thriller “Fade to Black,” while Sethi is working on a new romantic comedy script where he’s “going back to straight people.” Groff, fresh off his Tony win for “Merrily We Roll Along” on Broadway, is returning to the Great White Way with “Just In Time,” a new musical about the life and times of singer Bobby Darin.
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