Maitreyi Ramakrishnan and Hasan Minhaj on 'Best of the Best,' Dance Training, and Cultural Identity

Maitreyi Ramakrishnan wants to clarify that her role in the new Netflix film Best of the Best was not handed to her; she auditioned. The film, a coming-of-age comedy centered on collegiate Bollywood dance competitions, is set to premiere on Netflix on September 18. It was conceived by comedian Hasan Minhaj and his writing partner Prashanth Venkataramanujam during lockdown, inspired by the Step Up franchise.

For fans of Ramakrishnan's previous work on Netflix's Never Have I Ever, which concluded in 2023, Best of the Best might offer a welcome return to a similar vibe. The movie reunites Ramakrishnan with Never Have I Ever director Lena Khan and co-choreographer Joya Kazi. In the film, Ramakrishnan plays Maya, a driven UCLA freshman whose relationship with her childhood best friend, Anjali (Priyanka Kedia), is tested as they navigate campus life, academics, and rigorous dance competitions.

Minhaj, known for his work on Patriot Act, felt Ramakrishnan was uniquely suited to portray Maya. "Everybody knows that Maitreyi naturally is comedically brilliant. She has that ‘It’ factor that you can't teach," he stated. "But if you look at Maitreyi’s work, especially in Seasons 3 and 4 of Never Have I Ever, there is an emotional depth, that pathos that she has. I was like, there's no other number one for this film than her."

Despite Minhaj's confidence, Ramakrishnan auditioned to ensure she was ready for the transition from television sitcom pacing to feature film's more intricate emotional stakes. Kazi, who shares a college history with Minhaj, also underwent a formal audition process.

A Fusion of Dance Styles

The term "Bollywood dance" is a broad one, and Best of the Best showcases a fusion of various styles reflecting contemporary trends in dance competitions and online culture. The film incorporates elements from traditional Indian dances like Bharatnatyam and Kathak, alongside contemporary hip-hop, and breaking. This blending of styles mirrors the work of real-life artists who have gone viral for their innovative dance routines that combine Indian classical movements with modern techniques.

Ramakrishnan, who admits she is not a natural dancer, underwent an intensive four-month training program. This included daily classes in Los Angeles covering a wide range of styles, followed by further preparation with the cast in New Jersey. "Dancers are no joke," she remarked, emphasizing the physical demands and dedication required for the role.

"The beautiful thing that we wanted to do in this film," Minhaj explained, "is to take all of these things that make our identity and create something new with it." He highlighted how the film's setting in the United States allows for a unique synthesis of South Asian identities, transcending the national and linguistic barriers that might otherwise separate communities from India, Pakistan, Bangladesh, and Sri Lanka.

The film also aims to challenge monolithic representations of South Asian identity by featuring a diverse cast and characters that go beyond typical archetypes. It includes references to cultural touchstones like the Koh-i-Noor diamond, prompting discussions about colonial history and reparations.

Prioritizing Cultural Specificity

Ramakrishnan's character, Maya, is specifically identified as Eelam Tamil, a detail that carries significant political and historical weight, particularly for those familiar with the Sri Lankan civil war. Ramakrishnan, whose own family fled Sri Lanka, noted the importance of this specificity, stating, "I think the Tamil Eelam folks, like yourself, will catch that."

Minhaj praised Ramakrishnan's strong sense of self and cultural pride. He pointed to a scene where her character performs a Kuthu dance, a high-energy Tamil folk dance, at a frat party. Ramakrishnan described Kuthu as a dance learned organically at community gatherings rather than in professional studios, likening its grassroots nature to Bhangra.

The film's finale, set against a backdrop that evokes a museum of colonial artifacts, is designed to engage with themes of colonial reparations. Minhaj suggested that while symbolic gestures like returning the Koh-i-Noor diamond are significant, the real work of shaping the future lies with the current generation. He sees Ramakrishnan, with her understanding of her political and social place in history, as embodying this forward-looking perspective.