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    A Bollywood Favorite Is Remade for the Stage, Raising Eyebrows

    Some have taken issue with the reframing of the musical, which now focuses on the love story of an Indian American woman and a white American man.SAN DIEGO — It is one of the most successful Bollywood movies of all time. Though released in 1995, it still plays daily at a movie theater in Mumbai. Its songs are a mainstay at weddings. Its lead actors became Bollywood superstars. And now “Dilwale Dulhania Le Jayenge,” or “DDLJ,” has hit the stage.“Come Fall in Love — The DDLJ Musical” is currently in previews at the Old Globe here before a planned Broadway run. Fans of the film had been abuzz after producers announced the stage adaptation last fall, but when the show’s cast was revealed this summer, social media lit up with criticism. The news that a white actor, Austin Colby, would play the role of Rog, who was known as Raj in the film and played by the Indian star Shah Rukh Khan, led many fans of the movie to accuse the musical of whitewashing.The show’s creators say they want to tell the story of two cultures coming together. But critics of the casting decision see a missed opportunity. Amid increasing demands for more inclusive hiring and storytelling in the entertainment industry, South Asians are still underrepresented onstage and onscreen.“Just when you think we are moving on wards & upwards we are right back to square one,” Andy Kumar, an India-based performer known as VJ Andy, wrote in a tweet. “Why can’t our stories be told as they are? Without a white wash??” On Instagram, negative comments were sprinkled among the responses to Colby’s excited post about his casting. “Haven’t y’all colonized enough,” one user wrote. Another commented: “It is embarrassing that as a white man you are willingly stealing opportunities from men of color. This isn’t something to be proud of.”The chef Vikas Khanna, who was born in India and lives in New York, has also expressed his disapproval on social media. “They took away a star from us,” Khanna said during a video call. “All these guys would have gone in for auditions and the parents would have been: ‘My God, my boy is going to be Raj!’” More on IndiaA Predator’s Return: Scientists are bringing cheetahs back to India to see whether the animal’s population there can be restored after being hunted into extinction.Economic Trends: As global economic growth slows sharply, with many major economies gripped with worries of recession, India has been a conspicuous exception as its economy continues to grow.An Electric Vehicle Push: India’s success with two- and three-wheeled electric vehicles that sell for as little as $1,000 could be a template for other developing countries.Keeping the Milk Flowing: Indian scientists are getting creative in an effort to help the country’s dairy producers, and animals, adapt in a hotter world.“Doing this, you’re making our kids feel less than,” he added. “Let’s not move back. We’ve worked really hard to be on the stage.”“DDLJ” was one of the first Indian films to center on a love story between nonresident Indians (known as N.R.I.s), a reflection of the large numbers who were emigrating. It focuses on two young N.R.I.s living in London — the party boy Raj (Khan) is rich, entitled and Western, quite the opposite of the old-fashioned Simran (Kajol) and her hardworking traditional father, who says to Raj in the film: “You call yourself an Indian? You give India a bad name.” But when Simran ‌returns to India for her‌ arranged marriage, Raj and Simran try to persuade her father‌‌ to let their love conquer all. In addition to the central love story, the movie also resonates because of its focus on love of country and family.The film “touched a nerve” with N.R.I.s who were “navigating between two or three cultures,” Rajinder Dudrah, a professor at the Birmingham Institute of Media and English, explained in an interview. Individuals were having to grapple with the tension between Indian tradition and Western ideas just as this movie was highlighting them. “The idea of ‘dil hai Hindustani,’ the heart is Indian,” was also conveyed in the film, Dudrah added, “meaning that no matter where in the world you were, if you were of Indian descent, you had an attachment to India.”Narayan, with ensemble members, in the musical, which has nods to the film and a similar narrative arc.Jim CoxWhile there are nods to the film — pigeons, fields of mustard flowers, a mandolin cameo — and the narrative arc remains, this “DDLJ” is decidedly American. Raj has been transformed into Roger (or Rog), and the leads now live in Massachusetts, meeting as Harvard students in Cambridge. Aditya Chopra, who directed the movie, is also directing the stage show; the book and lyrics are by Nell Benjamin, who wrote screen-to-stage adaptations of “Legally Blonde” and “Mean Girls.”In August, Chopra posted a statement on Instagram explaining his original vision for the film involved a white male lead. (Apparently his first choice was Tom Cruise.)‌ “The most powerful way to depict a country’s culture and values is to see it from the perspective of someone who does not belong to the same culture,” Chopra wrote, explaining his goal is to showcase Indian culture to a global audience. “That is the starting point of ‘Come Fall in Love,’ the story of Indian Simran, her culture and heritage through the eyes of American Roger.”In an interview earlier this month, Benjamin said she was not surprised by the reaction “given the lack of representation” in the theater, but the uproar was still unsettling. “I was distressed that people thought that Adi [Chopra] or me or anyone would want to whitewash this movie,” she explained. “That would suggest that ‘Oh, well, when we do it, she’s going to fall in love with this guy because he’s better than the options.’ That’s not the story. I believe people who come to see the show will get that.”The musical’s writers stressed that the production still showcased a predominantly South Asian cast, including Shoba Narayan, who plays Simran, and a production spokeswoman said that South Asians represented more than 50 percent of cast members.Benjamin said the creators had considered writing the male lead as an Indian American or a half-Indian man but believed it would have been an “easy choice” that wouldn’t have worked as well. “If you don’t excavate it, you don’t add value to it,” she said, adding that Chopra “is perfectly capable of doing the exact movie as a musical, developing it in Mumbai and then renting a theater in New York, but that’s not what we wanted to do together.”Not everyone was critical of the direction the stage musical has taken. The Bollywood screenwriter Shibani Bathija (“My Name Is Khan,” “Fanaa”) saw the advantages in changing the lead’s ethnicity to make the story work for a general audience. “I think having him be South Asian would be more problematic, because where is all this objection coming from,” she said, referring to the family’s disapproval of the central couple’s relationship. The United States focuses less on caste and class differences than India or Britain, she said, so the possible differences between two South Asians would not be as apparent to an American audience. “If you hadn’t watched the film, you wouldn’t get it,” she said. “There would need to be another level of explanation that maybe wouldn’t serve the creative.”The musical’s composers, Vishal Dadlani and Shekhar Ravjiani, known as Vishal & Shekhar, also disagreed with the criticism. Ravjiani said they were proud to represent India through the musical, for which they have created an 18-song score. (The two did not write the film’s original songs, which have become classics, and only a few melodies from the movie are briefly heard in the musical.) Dadlani reiterated that Chopra wanted to tell this specific story and that it was “ridiculous” to say that “just because you’re an Indian filmmaker, you should write the story differently.”“It’s not about color, it’s not about white or brown,” Dadlani added. “It’s about a boy who’s in love with a girl and whose family is different than the girl’s family.”However, Benjamin, interviewed separately, thought of color as a storytelling tool. She explained that in her view, “with the change to Rog, you’re talking about color” and discussed how Roger’s “whiteness” gave him privilege, making things easy for him, until he faced Simran’s father.Despite the criticism of the show, among the three dozen or so audience members interviewed in San Diego, the response was mostly positive — from those familiar with the film and those who weren’t.One of the few dissenting voices was Shebani Patel, who flew in from San Francisco to see the show: “I was not pleased with the casting. I don’t hate the show, but it’s not our show.” More

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    Hear Lata Mangeshkar in These Four Streaming Films

    Because Mangeshkar lent her voice to several generations of Bollywood stars, these movies double as a highlight reel for Hindi cinema.They called her the Queen of Melody.Lata Mangeshkar, the Bollywood singer who died on Sunday at 92, left behind a monumental body of work in a career that began in 1942, when she was just 13. Her singing for films, which continued until 2015, spanned numerous regional-language industries, but she defined mainstream Hindi cinema in a way few artists have. (Another artist who did, Mangeshkar’s sister Asha Bhosle, is also a playback singer.)Mangeshkar lent her angelic voice, with its four-octave range, to several generations of stars, from Madhubala in the horror classic “Mahal” (1949) and the historical epic “Mughal-e-Azam” (1960) to Hema Malini in the crime comedy “Dream Girl” (1977) to Madhuri Dixit and Karisma Kapoor in the romantic drama “Dil To Pagal Hai” (1997). In “Dil To Pagal Hai,” her recognizable voice emanates from both actresses, sometimes in the same scene, but this double duty isn’t distracting. With thousands of songs to her name, she was as common to Indian audiences as close-ups and scene transitions, accepted as a crucial element of cinematic language.Four of her most successful films are available to stream. Given the breadth of her career, they effectively double as a highlight reel for the history of Hindi cinema. An introduction to its riches would be nearly impossible without her.‘Awaara’ (1951)Stream it on MUBI; buy or rent it on Amazon Prime.Raj Kapoor’s “Awaara” straddles the line between art house and blockbuster. It was both a Grand Prix nominee at the Cannes Film Festival and an enormous financial success, a huge hit not only in India, but also in China and the Soviet Union.A false-imprisonment story with social reform on its mind, “Awaara” cemented Hindi cinema’s lasting theme of romance across economic lines, told here through Kapoor’s trenchant mix of gritty melodrama and lavish musical scenes. Mangeshkar, who provides the singing voice for the actress Nargis, captures the giddy excitement of new love in “Jab Se Balam Ghar Aaye” (“Ever Since My Beloved Returned”), which she deepens into intoxicating passion in “Dam Bhar Jo Udhar Munh Phere” (“If You Turn Away for a Moment”), an intimate duet with the renowned singer Mukesh.Mangeshkar’s vocals are just as suited to the story’s dreamlike turn in “Ghar Aaya Mera Pardesi” (“My Stranger Came Home”), in which she projects an operatic longing. The film runs the stylistic gamut, and her dynamic voice aids in its transformations.‘Sholay’ (1975)Buy or rent it on Amazon Prime, Apple TV, Google Play and YouTube.Ramesh Sippy’s musical “western” “Sholay” had a fabled theatrical run of nearly six years. Its box office success is partially owed to its musical set pieces composed by R.D. Burman.“Holi Ke Din” (“On the Day of Holi”), a colorful explosion set during the Hindu spring festival, is both a celebratory respite between violent action scenes and a romantic tête-à-tête between the roguish Veeru (Dharmendra), whose singing is voiced by Kishore Kumar, and the feisty Basanti (Hema Malini), voiced by Mangeshkar. Basanti struck a chord with audiences not only for her fast-talking bravado, but also for a memorable act of sacrifice: To save Veeru from a callous bandit, she agrees, in an act of heroism distinct to the Indian musical, to dance on broken glass in “Haa Jab Tak Hai Jaan” (“As Long As I Live”), which Mangeshkar sings lovingly and fearlessly.Five Movies to Watch This WinterCard 1 of 51. “The Power of the Dog”: More

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    Indian Film Is Being Adapted Into a Broadway Musical

    “Dilwale Dulhania Le Jayenge,” a popular Hindi-language movie from 1995, will debut during the 2022-23 season.Bollywood is coming to Broadway.“Come Fall in Love — The DDLJ Musical,” based on the Indian filmmaker Aditya Chopra’s 1995 hit “Dilwale Dulhania Le Jayenge,” which has become a cultural touchstone of contemporary Bollywood, will open during the 2022-23 season, producers announced on Friday.The film, which was Chopra’s directorial debut at age 23, is a romantic comedy that tells the story of Simran, a young Indian American woman who is arranged to be married to a family friend who convinces her strict father that she should have a summer adventure in Europe first. (A charming American throws a wrench into her logical plans.)Chopra, who also wrote the movie, commonly referred to as “DDLJ” and whose title is translated as “The Braveheart Will Take the Bride,” said in a statement on Friday that he was excited to marry the worlds of theater and film in the project, which he will direct.“Twenty-six years later, I’m going back to my original vision of the story of ‘DDLJ,’” he said, “a love story of two cultures … two worlds.” He added, “I’m terribly nervous and incredibly excited.”The show will be produced by Yash Raj Films, India’s largest film studio, and it will be a collaboration between an American and Indian creative team. Nell Benjamin (“Legally Blonde,” “Mean Girls”) will write the book and lyrics, and the Indian songwriters Vishal Dadlani and Shekhar Ravjiani will compose the music. Choreography will be by Rob Ashford, who won a Tony Award for “Thoroughly Modern Millie,” and Derek McLane (“Moulin Rouge!,” “Hairspray Live!”) will design the set.The musical will have its world premiere at the Old Globe Theater in San Diego in September 2022, with Broadway dates to be announced later.“DDLJ,” one of the highest-grossing Indian movies of all time, was a success with critics as well as at the box office and placed 12th on the British Film Institute’s list of the top Indian films of all time.Writing for RogerEbert.com in 2012, Omer M. Mozaffar characterized the film as a Bollywood version of a Disney princess story, with a young woman “feeling trapped by the traditional patriarchy, seeking freedom through discovering the world, but finally finding it through silent, but inappropriate love.”A global casting search is underway. More