From opera to Devi Chowdhurani: Carl A. Harte on Indian cinema
Carl A. Harte never planned on being an actor in India—it just unfolded naturally. Though trained in Western classical opera, he found himself more comfortable in acting roles than in solo performances. A spontaneous opportunity as an extra led to a deep immersion in Indian cinema, where he now brings powerful historical characters to life, such as the one in filmmaker Subhrajit Mitra's Puja release, Devi Choudhurani, starring Prosenjit Chatterjee, Srabanti Chatterjee and others. In this conversation, he shares his journey across continents, the role of imagination, and how he stays grounded while navigating new and unfamiliar worlds.
You've gone from Western classical opera to Indian cinema. Where do you feel like you belong?
I think I always belonged to acting. At first I felt that I wanted to become an opera singer, and I trained, but I never really felt that comfortable. I only got as far as the chorus, and I couldn't get myself comfortable enough to take that extra step into solo roles. At the end, I gave it up. I seem to be always acting on stage rather than singing. They were always singling me out to do acting roles. So, I suppose that was my first foray into acting.
What was the best part about shooting Devi Choudhurani?
It's intense. It's a very intense story. It's dramatic. It's got a good script, an amazing story, and great historical context. What I like about Bengali productions generally is the historical element. Bengali audiences know their history very well. Some things in the script were actually historically correct. It’s lovely to find a quote here and there from history.
Why would you recommend or how do Devi Choudhurani and Raghu Dakat stand out as cinema?
I see the level of artistry in both. Raghu Dakat is more of a fantasy, though based on history. Devi Choudhurani is rooted in history. The refinement is a hallmark of Bengali cinema—cinematography, sets, acting. When I first went on set, I panicked. The standard of acting in Bengal is just so high. That was in a production called Mukti—an OTT television production.
What made you start working in India?
It was more or less by accident. Some friends were going to a production as extras, and they asked me to come along. I saw that no one acting really. The assistant director asked me and one of my friends to do things, and we had a great time. It was just casual as an extra, and it was just for a bit of fun. But then, people asked me to do other things, and it slowly took off from there.
Which version of yourself do you prefer more — Carl the actor or Carl the writer?
That's an interesting question. We're all actors. You're an actor, I'm an actor. Every person in the world is an actor. When you come into the office, you're playing a certain role; at home, you're playing a different role. We're all artistes to some extent. I like being an actor, but I also like being a writer. It's very difficult to mix the two. I suppose it's like being a sprinter, and then you have to become a swimmer. It’s two different moods. There's an illusion between the two.
What drives you to play historical characters in Indian stories?
I think this is what's asked of me. Sometimes it's contemporary, but more often, there's a very big revision of the country's history, and cinema is reflecting that. They're going to have a lot of British characters. If the story is good—and the stories are good, such as Bhagat Singh, Jatin Das or the 1857 Rebellion—I’m happy to do them. There are so many fascinating stories left to be told.
What is the secret behind your commanding presence in an unfamiliar cultural space?
Imagination. I think that’s really the answer to all of acting. I was talking to Bodhi Banerjee and he said, "Gotta use your imagination." That stuck with me. If you're meant to be a Governor General, you imagine that and it becomes the way you walk. You behave with that bearing. Preparation feeds the imagination and creates the character.
(Written by Addrita Sinha)
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