Chances are that you have no idea who Kalpen Suresh Modi is. But even if you are living under a rock, as an Indian who has an introduction to English content, it is impossible to not know Kal Penn. The The Namesake actor, first became a household name playing Kumar Patel, a carefree stoner pre-med Indian-American student Kumar Patel in the hugely popular “Harold and Kumar” franchise. Not only the New Jersey-born Gujarati actor was one of the first Indian-origin actors in mainstream Hollywood, but Kumar Patel was one of the first to address the stereotypical portrayal of Indian-origin characters in American movies and sitcoms especially the ones propagated by The Simpsons’ popular character Apu Nahasapeemapetilon, in a tongue-in-cheek manner.
Harold & Kumar Go to White Castle, which celebrated 20 years of its release in 2024, was in fact, the only mainstream movies of its decade to star two Asian American as leads. We caught up with the actor with his recent visit to India for the 25th edition of Lakmé Fashion Week (LFW), held at the Jio World Convention Centre in Mumbai. The actor, looking dapper in a black embroidered Manish Malhotra ensemble, hosted the event focused on strengthening Indian fashion industry’s relationship with the American Indian diaspora. “This is the first,” quipped the actor, visibly ecstatic about his LFW debut. “You know they say after the first, it’s just sequels—so I am glad that the Lakmē Fashion Week 25th anniversary is my first,” he said. When asked about a few recent Indian designers he finds interesting, he picks Manish Malhotra. “He is an absolute legend whose work I’ve admired for decades. It’s a privilege to be dressed by him for the LFW Gala.” Apart from him, he also mentions Shubhika from Papa Don’t Preach, Rahul Mishra, and fellow New Yorker, Bibhu Mohapatra. “I am a big fan of Gaurav Gupta. I just saw him show up in these awesome boots, and now I am trying to figure out how to wear them at another event myself!”
Away from the fashion glitz, we caught hold of the man for a quick chat on cinema. The onscreen ‘funny guy’, who had taken a brief acting hiatus to work as a staffer in the Obama administration, is known for his contribution for breaking stereotypes in Hollywood and his twitter thread on casual racism in Hollywood—where he had shared screenshots of audition scripts with characters described simply as ‘Gandhi lookalike’, ‘a foreign student’, and ‘a 25-year-old Pakistani computer geek’—had become a conversation starter. We sit down with the actor-producer for his take on contemporary Indian cinema, and the portrayal of South-Asians in Hollywood. Excerpts.
Do you watch Indian content? Do you discern any kind of evolution as far as Indian
cinema is concerned?
Kal Penn: Of course! Superboys of Malegaon and Zakir Khan’s new special Delulu Express were both so good. I don’t love the word ‘evolution’ because it implies that what came before was somehow less advanced. Sure, some films were ahead of their time, and others worked in their era but wouldn’t necessarily translate the same way today. But yes, storytelling has changed and I appreciate how digital platforms have played a role in allowing storytellers to take risks and explore human relationships. I don’t like to frame it as ‘advancement’ either. Rather it is as an overdue opportunity to tell stories the way they should have always been told.
What is your take on the web series made in India and also the South cinema that is
making all the noise today?
Kal Penn: All of it is great, and I’d also add that there’s so much amazing docu-series content out there—some of it older, like cooking documentaries, travel shows, and food vlogs. I would also give a shoutout to stand-up comedy, which has seen massive growth in India. Like you said, it’s not just in Mumbai, it’s everywhere. From the South to smaller cities, stand-up has really spread across the country, and the exposure comedians are getting now is very cool!
Do you think Indian cinema is finally breaking out beyond the usual diaspora audience?
Kal Penn: Digital platforms have allowed audiences to access projects in a way that we were not able to before. I remember when The Namesake was made. It was a global film in every sense—it was a co-production between an American, Indian, and Japanese company, based on a novel by an American author of Indian descent—Bengali descent, specifically—who now spends part of her time in Rome. When it was released, streaming didn’t exist. It was the era of traditional theaters and DVDs and theatres. Today, audiences have access to projects across the board. Take Laapataa Ladies, series like Delhi Crime, so many of Zoya’s films and shows—it’s compelling storytelling.
What kind of movies were you watching while growing up in the US?
Kal Penn: I grew up watching The Goonies, Back to the Future, and The Karate Kid, I also grew up with Don, DDLJ, and Kuch Kuch Hota Hai. Because of this, I don’t feel bound to a single genre, I have both of the frames of reference for these films.
How did you view the representation of Indians in American cinema and sitcoms? What impact did it have on you as a young actor?
Kal Penn: I think I processed it like a lot of other kids my age, I rolled my eyes and wondered why everything had to be so stereotypical. I wrote a full book about how that felt at the time, called You Can’t Be Serious (available now!). As an actor early in my career, like any actor, I took the roles that were offered to me. If you looked like me in the late ’90s or early 2000s, the only roles available were often based on stereotypes. At the time, I knew I had to take those roles to build my resume. I was fortunate to eventually graduate beyond them, but without those early opportunities, I wouldn’t have been able to establish my career. Looking back, I don’t carry a chip on my shoulder about it. Instead, I’m in awe of the filmmakers, writers, and directors today who are telling our stories in ways that weren’t possible before.
What is your take on colour-blind auditions? While it is opening up mainstream opportunities for Indian-origin actors, and do you think inclusivity as a clause can
sometimes negatively impact the authenticity of a story?
Kal Penn: Every project is different. The nature of a script, who is creating it, and how it’s being made. The most truthful example I can share, which is a very pivotal one for me, is from my time on the show House during its first few seasons. I remember auditioning for the role of a Mormon doctor, and I pointed out that, in reality, no Mormon doctors seemed to look like me. I asked the wonderful David Shore, who created the series, why men and women of all ages, let's say 18 to 80, were all reading for the same role of this Mormon doctor, especially when they were casting for six or ten different roles. I asked, “How can you give everyone the same script?” He replied, “Because I wanted the best actor." So, he chose to audition people regardless of their appearance, giving everyone the same script and then casting them in different roles based on who was the best fit. And by doing that, the cast naturally became diverse. That experience was a pivotal example for me. As an actor, I love that talent-centred approach.
You were also a former White House staff member in the Barack Obama administration. How do you balance the actor and the politician in you?
Kal Penn: I like to keep my personal politics separate from the characters I play. I love the challenge of playing characters who are completely different from me. We all have our own strong personal and political opinions, which is great. And I obviously respect folks who blend their advocacy with their artistic work. When I worked in public service, it took a sabbatical from acting, I didn’t do the two simultaneously.
What do you want to be your legacy as an actor? And what is that one thing you’re
most proud of as an actor?
Kal Penn: I’ve never really thought about the idea of a legacy—I’m not that old yet!
Honestly, I just feel blessed that audiences have supported me through everything—from R-rated stoner comedies to eye-opening documentaries and wholesome family shows like The Santa Clauses for Disney last year. I just hope I can keep doing that, working across genres, across languages, and collaborating with creative communities around the world. That’s one of the reasons I keep coming back to India. I have such deep love and respect for the artistic community here.
And is there any possibility of you doing a Bollywood movie?
Kal Penn: Yes, I am available! Let’s just put that out into the universe. Would love to work more here, on the film front, but also in the OTT and streaming space.
