Whew! Get Carter–director Mike Hodges’ cinematic film debut and undisputed king of the British gangster movie–is complicated. That’s just one of the many things I love about it.
It’s a righteous flick. It checks out.
Intricate plot twists, lots of dialogue and low volume sequences where you have to listen ever so carefully, or at least rewind it five or six times? √
Realistic action scenes with memorable but not over the top violence? √
A handsome gangster with narrow eyes and a razors edge streak of good? √√ & √
See what I mean? Righteous.
Anyway, where was I? Oh yeah. The complicated plot.
Early in the film we see Michael Caine as lead character Jack Carter. He’s on a train bound from London to his hometown of Newcastle. Carter’s mob boss has warned him not to ruffle any feathers over his brother Frank’s untimely death. Stay in London where you belong, he’s been told. It was an accident. But Jack doesn’t believe it. Frank wasn’t the careless type. And besides that, he was a good bloke. Relatively straight, all things considered. Not like Carter at all.
On the train, Carter attempts to read the Raymond Chandler novel Farewell My Lovely. This detail is both amusing and key. Amusing because as time lapses on the train, Carter remains only ten or so pages into the book. (Obviously it’s too highbrow and complicated for him.) Key because the plot lines of Chandler’s novel traverse a similar twisting and turning trek as Carter’s journey, although you don’t have to be familiar with the book to understand the movie (but it doesn’t hurt.)
What is relative here is that we understand that Get Carter is your standard–though amazingly crafted–detective/mystery movie, albeit with a glaring twist: Carter, a London mob hit man, is the detective investigating the murder.
The are other classic plot devices too, such as the fish out of water mechanism. Like a lot of suit wearing criminals, Carter thinks of himself as a cosmopolitan rouge. He looks down his nose at his hometown and thinks that he’s better than the blue collar gangsters he’s forced to rub shoulders with. Case in point: upon ordering a beer, he demands that it be served to him in a thin glass. Makes a big show of it. This attitude hardly wins him any friends and the one young man who might be counted on as loyal, he readily and royally screws over.
Such ruthlessness is a reoccurring theme in Get Carter. Carter screws just about everybody over.
He does have a soft spot for his deceased brother, though. The scene where he carefully unscrews the lid of Frank’s coffin so that he can view his body is touching and unexpectedly tender.
Anyway, back to Farewell My Lovely. In it the plot involves a politically connected physician who is also a drug dealer. In Get Carter the plot hinges upon a vending machine supplier and the commodity in question is pornography. Keep in mind that pornography was illegal in the UK during the seventies and the laws regulating it are still much stricter than similar laws in the US.
The movie opens with Carter and his London mob associates sitting around a projector in a posh high-rise watching what was called a stag film back in the day. The mob boss runs his hand lasciviously up the thigh of young blonde woman who exchanges uncomfortable glances with Carter. This is where Carter is warned not to get involved with the Newcastle mob. The sound of rustling wind blowing through the hollows is present. It is an ominous, lonely sound. Where does it come from? The high-rise is as tight as a drum.
Later, in his hometown, Carter is in bed with the Newcastle mob boss’ woman. That’s just one of his peccadilloes–he doesn’t know his place and won’t take orders. He respects no boundaries. Predictably, Carter insults the woman and she storms off to the bathroom. There is a film projector on the nightstand. Carter lights a cigarette and turns on the projector. The film begins to roll. Once again there is the sound of wind blowing, seemingly, from nowhere.
This is just one of Mike Hodges’ many subtle, sophisticated flourishes that makes the intensely dark subject matter more palliative. And that’s a good thing considering nihilisms tendency to make short shrift of its welcome and the almost two hour duration of the film.
On the surface it is tempting to over romanticize Hodges’ cinematic directorial debut when, in fact, he was a well known veteran of British television where he wrote, directed and produced two gritty, celebrated small screen thrillers, 1969’s Suspect and 1970’s Rumour. It was the success of those TV movies and his reputation for making arresting documentaries that earned him the right to write and direct Get Carter; that and the fact that the European branch of MGM was closing up shop and the studio heads wanted to shoot Get Carter on the cheap. Most of the funds went to Michael Caine who had only recently become a bona fide star. So MGM rolled the dice with Hodges’, but he was no gonzo breakout director like Queintin Tarantino was with Reservoir Dogs.
Get Carter is a terrific movie, but it’s not perfect. As I have made clear before, the 70s are my favorite cinematic time period. There are, however, excesses of the period that diminish the power of the art form. The overemphasis of on screen sexuality is one of those excesses that bloats Hodges’ otherwise lean and mean machine. There’s just too much screen time dedicated to Carter gettin’ busy. I’ve heard it said that the phone sex scene where Carter titillates his fiance and his slutty land lady simultaneously is revolutionary. To me it’s an unnecessary ploy to cram as much sex into a mainstream film as possible. But hey, it was the 70s. Endurance was key.
All things considered, Get Carter is a must-see for gangster movie aficionados in particular and anyone else who enjoys a sound, well built movie. If that doesn’t do it for you, watch it for Michael Caine’s performance. It’s wicked.
I need to watch this again. I saw it many years, but it is long gone from my memory. Caine is a versatile actor and has had one heck of a long career.
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Yes, I’m a Caine fan. (Although I think I misspelled his name in the post. I’ll have to change it…shhhhh. Ha!) Anyway, he’s at the top of his form here and this is the film that cemented him as a superstar. But it’s not just Caine–the film is stellar. One of my favorite gangster flicks.
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I don’t think I’ve seen this! Sounds like a good one
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Yes, it’s very good. However, it’s dark and the protagonist is an anti-hero deluxe, so there’s no warm and fuzzy feeling at the ending. In fact, you feel more like you need a shower. Thanks for stopping by.
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Ah well then, right movie for me
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Get Carter has long been a favourite of mine, it’s beautifully shot, violent in a way that many so-called violent films fail to engage with, with a great script featuring some memorable one-liners. What struck me on viewing it recently was the way that Mike Hodges interspersed little vignettes of everyday life in Newcastle in the early 70s – the guy in the betting shop, the bingo caller, washing hanging in the back alleys, drum majorettes on a Sunday morning – brilliant. And is that Carter’s killer sitting opposite him on the train journey to Newcastle?
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Yes, I love the realism of the film. Hodges knew the area of Newcastle well and he incorporated lots of local faces–craggy, gritty, unattractive along with the merely attractive. This along with the industrial and back alley landscape gives it street cred instead of the typical stylistic crime glamour of the day. It’s a very economical film and that serves it’s subject matter well.
Yep, the London mob sent along a hit man, for the hit man just in case. I read where Hodges insisted that the screenplay’s ending–which he wrote–differ from the book’s (Jack’s Return Home). He wanted that bleak justice feel that “crime doesn’t pay” and he wanted Carter to get what was coming to him. Fitting.
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This wonderful film is a mixed bag. Part harping back to the British New Wave of the 1960s, and part trying to titillate the modern audience at the time. That said, and writing as an Englishman, it has never been done better. A wonderful cast (all very familiar to British viewers) of stalwart character actors, and John Osbrne wonderfully oily as the villain. Sharp location filming in north-east England was the icing on a very good cake.
(The Stallone remake should be avoided at all costs)
Best wishes, Pete.
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Really, really love this one Pete. I’m a Micheal Caine fan. (Alfie. To me, one of cinema’s finest performances.)
I’m a sucker for gangster movies. I love the British perspective. The Limey. Sexy Beast. The Long Good Friday, (Oh my goodness. One of my all time favorite films. I’m going to write a post about it.)
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https://beetleypete.wordpress.com/2018/05/04/retro-review-alfie-1966/
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Something I wrote for another site.
http://curnblog.com/2016/03/13/michael-caine-an-appreciation/
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Nice post Pete. I’ve often heard what you confirmed, that Michael Caine is devalued in Great Britain. Too bad. I don’t understand. Not the case in the States. We love him here. I must admit that I like John Hurt better, but none-the-less, Caine is undeniably a great actor and a charismatic movie star. There’s nothing wrong with the latter.
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I like him a lot, except when he does his ‘American’ accents. 🙂
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Sexy Beast and The Limey? Try this. 🙂
http://curnblog.com/2015/02/03/hard-men-british-bad-guys/
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Thanks Pete. I’ll check it out.
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I very much want to see Villain. Never heard of it I’m embarrassed to say. I’m curious…I mentioned the Long Good Friday in a previous discussion and you didn’t bite. What do you think of it?
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Overall, I enjoyed it. I though Hoskins was a little ‘caricature’ as Harold. He had shown great nuance in the remarkable TV series ‘Pennies From Heaven’, and lacked that in this film. I know most of the locations well, and many of the supporting cast were on top form, including Helen Mirren of course. Derek Thompson, known still as a TV actor here, was unconvincing. I was brought up around London gangsters, and he just didn’t get it. Dave King was a 60s comedian, and made the move to film very convincingly. Strange casting of French heavy Eddie Constantine too, when there was so much British talent that would have felt more authentic.
I liked the pacing, and much of my criticism stems from knowing the areas and people so well, so I accept it works much better if you are not British. (Or from London).
Hoskins was better in ‘Mona Lisa’, and ‘Get Carter’ was, in my opinion, a much better film.
Best wishes, Pete.
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All right. I appreciate your educated perspective. That gives me some new info to chew on. When I first saw the film I knew nothing about it and I was rapt by the ending sequence. I thought Hoskins was glorious in it; one of the finest jobs of acting I have ever seen. Then, as is my habit if I see a movie I really like, I read up on it and felt vindicated as his performance and especially the end sequence is lauded. It’s one of my favorite gangster films, as is Get Carter.
Well, I’m going to let you be for a bit. Thanks Pete, for supporting my blog. I’ll drop in on you later. And feel free to send me links anytime. I enjoy them.
Cheers.
–Pam
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I can see why you like it, I really can. There’s not much wrong with it at all, and it is much loved. I like it too, just not as much as some others. 🙂
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OK, last link for now. This is a short non-fiction article I wrote. It was published online by Longshot Island, and also in print, in their magazine. It may be of interest.
http://www.longshotisland.com/2017/04/30/the-hard-men/
Best wishes, Pete.
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Fantastic, fascinating article Pete. Love it. It rings true. I have a similar experience, with some members of my family operating along the Texas/New Mexico/ Mexico border. It’s rather painful for me. I think that I am drawn to stories of crime naturally. If not for my mother–God rest her soul–I may have delved into that world. I know all too well about television sets given to me as gifts that never came in a box. The same with jewelry and perfume. Lots of stuff was like that.We didn’t ask questions.
There was a code of honor among these people but, for me, anyway, I never really felt secure within that atmosphere. It was rarefied air yes–and bitter. I was always happy to return to the limited space under my mother’s wing. Not much freedom there, but it was wonderfully safe. Thank God.
–Pam
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