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Get Carter

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Get Carter
Company typeFilm
IndustryFilm industry
Founded1971
FounderMike Hodges (director and screenwriter), Michael Klinger (producer)
Headquarters
London, United Kingdom
Area served
United Kingdom
Key people
Mike Hodges, Michael Klinger, Michael Caine
ProductsGangster thriller film

Get Carter is a 1971 British gangster thriller marking the directorial debut of Mike Hodges, who also penned the screenplay. The film features performances by Michael Caine, Ian Hendry, John Osborne, Britt Ekland, and Bryan Mosley. Adapted from Ted Lewis's 1970 novel Jack's Return Home, the story centers on Jack Carter (Caine), a London-based gangster returning to his hometown in North East England following his brother’s suspicious death. Driven by suspicion and the desire for retribution, Carter delves into the local criminal network.

Producer Michael Klinger secured the rights to Lewis’s novel shortly after its release and collaborated with the financially troubled Metro-Goldwyn-Mayer (MGM) to produce and distribute the film. Get Carter was the final project sanctioned by MGM's Borehamwood division before it shut down. The film was completed within ten months, with principal photography taking place from July through September 1970 in locations including Newcastle upon Tyne, Gateshead, and County Durham. Hodges, Klinger, and Caine pursued an authentic depiction of crime and violence, drawing on Caine’s personal connections to criminal figures and Hodges’s extensive research into Newcastle’s underworld. Cinematographer Wolfgang Suschitzky applied a documentary-inspired naturalistic visual approach.

While Get Carter generated a moderate profit domestically, it initially received mixed critical responses; reviewers commended its technical execution and Caine’s portrayal but found fault with its intricate narrative, graphic violence, and the protagonist’s morally ambiguous nature. In contrast, American critics responded more positively, though the film saw limited exposure primarily on drive-in screens as MGM prioritized the production of Hit Man, a 1972 blaxploitation remake.

Over time, Get Carter garnered a dedicated cult audience, receiving endorsements from filmmakers such as Quentin Tarantino and Guy Ritchie, which contributed to a renewed critical appreciation. Its exploration of British class dynamics in the 1970s and Roy Budd’s understated jazz soundtrack have been widely praised. The film was ranked 16th in the BFI Top 100 British films of the twentieth century in 1999, and in 2004, British critics named it the greatest British film ever in Total Film magazine. A remake released in 2000 starring Sylvester Stallone as Jack Carter—featuring Caine in a supporting capacity—was poorly received.

Plot

Jack Carter, a gangster originally from Newcastle now working in London for crime lords Gerald and Sid Fletcher, is involved with Gerald’s girlfriend Anna while planning to flee to South America. However, he must first return to Newcastle for his brother Frank’s funeral. Doubting the official cause of Frank’s death by drink-driving, Jack begins probing despite warnings from his superiors to steer clear of local criminal factions. At the funeral, he encounters his niece Doreen and Frank's clandestine lover Margaret.

Seeking leads, Jack visits Newcastle Racecourse to meet former associates Albert Swift and Eric Paice. Eric directs him to Cyril Kinnear’s country estate—Kinnear being a crime boss—but Jack uncovers little there aside from meeting Glenda, an alluring woman. After being menaced by henchmen and capturing one who identifies "Brumby" as responsible, Jack learns Brumby is a businessman controlling amusement arcades locally. Upon confronting Brumby, Jack narrowly escapes an ambush orchestrated by Fletcher’s men intent on returning him to London.

Glenda intervenes to save Jack from pursuers and brings him to Brumby’s restaurant development site. Brumby confesses that Kinnear arranged Frank’s murder amid attempts to seize his business interests and offers Jack £5,000 to assassinate Kinnear—a proposition Jack declines. At Glenda’s apartment, Jack discovers a pornographic film implicating Doreen, Albert, Glenda, and Margaret; this revelation enrages him. Glenda asserts that Kinnear produced the tape and that Eric coerced Doreen into participating. In response, Jack forces Glenda into her car trunk before pursuing Albert.

Albert admits he informed Brumby about Doreen being Frank’s daughter; Brumby exploited this information via the film to incite Frank against Kinnear, leading Eric and cohorts to orchestrate Frank’s murder. After extracting this confession, Jack fatally stabs Albert. A gunfight ensues involving London gangsters; Jack kills Peter while Eric and Con manage to escape, inadvertently leaving Glenda trapped inside the car trunk which is dumped into a river. Later at a parking lot, Jack assaults Brumby and throws him off a height to his death before sending the incriminating film to Scotland Yard’s vice squad.

Jack kidnaps Margaret and contacts Kinnear during an extravagant party to negotiate Eric’s release in exchange for silence. Although Kinnear agrees but secretly double-crosses him, Jack kills Margaret with an injection at Kinnear’s estate and alerts authorities to raid the gathering. Pursuing Eric along a beach, Jack forces him to consume whisky as Eric had done with Frank before beating him to death with a shotgun and disposing of his body via a coal conveyor belt. Having avenged both Frank and Doreen, Jack walks along the shoreline only to be shot dead from afar by one of Kinnear’s associates.

Cast

  • Michael Caine portrayed Jack Carter. Producer Michael Klinger secured Caine, a prominent actor celebrated for Alfie, The Italian Job, and The Ipcress File, to star in the lead role. Caine connected deeply with Carter’s working-class roots and infused the character with a colder, more ruthless dimension aligned with the novel’s original portrayal. Although not officially credited, he is acknowledged as a co-producer.[1]
  • Ian Hendry played Eric Paice. Initially Hodges's preferred choice for Carter, Hendry’s waning career and struggles with alcoholism impacted his acting. His genuine animosity toward Caine was leveraged to intensify the on-screen conflict.[2]
  • John Osborne took on the role of Cyril Kinnear, Carter’s chief opponent. Known primarily as a playwright, Osborne was cast in an uncommon acting capacity, delivering a sophisticated menace that diverged from the book’s characterization.[3]
  • Britt Ekland appeared as Anna. Recognized as a major sex symbol familiar to American audiences, her part was limited but prominently featured in marketing efforts. Financial necessity influenced her acceptance despite initial hesitation about nude scenes.[4]
  • Bryan Mosley portrayed Cliff Brumby. MGM initially favored Telly Savalas but ultimately selected Mosley due to his convincing fight choreography. A committed Catholic, Mosley sought counsel from his priest before agreeing to play this violent character.[5]
  • George Sewell played Con McCarty. Known for roles as villains and later as law enforcement figures, Sewell’s rugged look was well suited to the London gangster persona.[6]
  • Tony Beckley was cast as Peter the Dutchman. Specializing in portraying cruel criminals, Beckley brought a flamboyant and camp flair to the role.[7]
  • Glynn Edwards acted as Albert Swift. A seasoned character actor who had previously worked with Caine; later gained recognition for television roles.[8]
  • Alun Armstrong made his film debut as Keith Lacey. He was selected locally after expressing enthusiasm for the Newcastle-based production.[9]
  • Bernard Hepton portrayed Thorpe, the anxious messenger for Kinnear.
  • Petra Markham appeared as Doreen Carter, Jack’s niece. A skilled theatre performer balancing stage and screen commitments.[10]
  • Geraldine Moffat played Glenda. Known for her theatrical training and prior television experience.[11]
  • Dorothy White was cast as Margaret. Primarily a television actress, this marked her first credited appearance in a film.[12]
  • Rosemarie Dunham portrayed Edna Garfoot, Carter’s landlady. This role marked her film debut following work in television.[13]
  • John Bindon took on Sid Fletcher. With real-life criminal ties and borstal experience, Bindon lent authenticity to the gangster boss character despite facing legal issues later.[14]
  • Terence Rigby played Gerald Fletcher, one of London’s crime bosses; his casting stemmed from Hodges's familiarity with TV police dramas.[15]

The supporting cast included veteran character actors such as Godfrey Quigley (Eddie Appleyard), Kevin Brennan (Harry the card-player), and Ben Aris (architect), all of whom had notable credits including if.... and Hamlet.[16]

Carl Howard appeared as the assassin "J" in his sole film performance; however, due to production oversight, his name was omitted from some credits despite Hodges's intentions.[17]

Development

During the late 1960s, the relaxation of film censorship in the UK paved the way for grittier and more uncompromising cinema, with Get Carter standing as a prime example of this shift. The entire production process, from initial concept to final cut, was completed within a span of just ten months.

In 1969, producer Michael Klinger aimed to develop a gangster film that would tap into the public's fascination following the conviction of the Kray Twins. After deciding against Peter Walker's Man of Violence (1969), Klinger obtained the rights to Ted Lewis’s novel Jack's Return Home, recognizing its potential to inject American-style realism and violence into British crime cinema.

Klinger was approached by producer Nat Cohen to produce films for MGM, which was in the process of shutting down its British studios and looking for low-budget projects. With Robert Littman at the helm of MGM Europe, Klinger presented his proposal and secured a modest budget of £750,000 (currency details disputed). However, MGM soon exited the UK market.

For writer and director, Klinger chose Mike Hodges, impressed by his television work on Suspect (1969). Hodges’s experience in current affairs and arts programming shaped his approach to this first feature film. Contracted for £7,000 (£135,700 adjusted for 2024), Hodges initially named the project Carter's The Name. He adapted Lewis’s novel with significant narrative alterations, shifting the setting to Newcastle upon Tyne—a city he was intimately familiar with—and condensing the story into a straightforward timeline spanning a single weekend.

Drawing inspiration from Raymond Chandler and Hollywood B-movies such as Kiss Me Deadly, Hodges deliberately avoided conventional noir elements like voiceovers and flashbacks. This choice removed much of Carter’s inner motivations and backstory found in the novel, including his personal relationships and prior conflicts. Symbolic elements like Carter’s double-barrelled shotgun were also excluded.

Key plot modifications involved Carter killing Brumby and ultimately being assassinated himself, emphasizing themes of revenge tragedy and framing Carter as a moral arbiter delivering justice within a corrupt society. Nevertheless, Hodges regarded Carter’s deeds as ethically ambiguous; his death highlighted the futility inherent in vigilantism. MGM executives initially resisted the idea of killing off Carter, hoping to preserve the character for future sequels.

Casting

Despite pressure from MGM to cast more prominent American stars, Hodges successfully maintained creative control. Alongside Telly Savalas, studio executives proposed Joan Collins and likely Barbara Parkins from Peyton Place. The production heavily relied on local extras sourced primarily through Beverley Artistes casting agency, which supplied background actors for scenes set in casinos, streets, bars, and police raids. Denea Wilde was selected from this group to portray the pub singer.

Pre-production

In spring 1970, Hodges and Klinger conducted location scouting along England’s east coast seeking a setting that conveyed a "hard, deprived" atmosphere. Newcastle was ultimately chosen after Hull failed to meet their criteria. Hodges undertook thorough research into Newcastle’s criminal underworld, adapting the screenplay to incorporate authentic local details. His background in investigative filmmaking informed this methodical approach. The Trinity Square multi-storey car park in Gateshead—an imposing structure dominating the town center—served as both a thematic symbol and a representation of Jack Carter himself. Hodges utilized its multiple levels to heighten tension by visually separating predator from prey. This car park and adjacent shopping center were closed in 2008 and demolished two years later.

The residence used for Cyril Kinnear's home was Dryderdale Hall near Hamsterley, Bishop Auckland, a location linked to real-life organized crime history. Previously owned by fruit machine entrepreneur Vince Landa—who fled after an associate’s murder connected to underworld disputes involving the Kray twins—the site added an element of authenticity. While MGM minimized this association, Hodges intentionally chose Dryderdale Hall for its genuine relevance and detail. The Landa case is subtly referenced early in the film through a newspaper headline reading "Gaming Wars". Additional shooting locations spanned Newcastle, Gateshead, Northumberland, and County Durham.

Filming

Principal photography took place in the North East region from 17 July until 15 September 1970. Director Mike Hodges preferred utilizing long focal length lenses to achieve a realistic, documentary-style appearance, particularly during scenes involving crowds. The production was captured in Metrocolor, MGM’s brand name for films processed at its Eastmancolor facility, most likely employing Kodak Eastman Color Negative film stock. Cinematographer Wolfgang Suschitzky attributed much of the film’s unique visual style to Hodges, highlighting his significant impact on both camera techniques and lighting decisions.

In the initial week of shooting in Newcastle, the crew encountered a one-day strike organized by the ACTT. Following guidance from Richard Lester, Hodges and his assistant director chose to separate themselves from the cast and crew after filming days to rest. Producer Klinger was present on set but generally refrained from interfering; a planned chase scene was ultimately removed to prevent unfavorable comparisons with Bullitt. Hodges described working with Michael Caine as "an absolute pleasure," mentioning only one brief episode of temper during a particularly intense scene.

The most intricate sequence involved Kinnear’s card game, which featured four overlapping conversations that also advanced the plot. This presented technical difficulties such as fluctuating lighting and subdued dialogue, requiring precise adjustments to both camera placement and boom microphone positioning. Hodges later expressed regret over not dedicating more rehearsal time to this complex scene.

The sequence where Carter hurls Brumby from a multi-storey car park was constructed from four separate shots: the stairwell struggle, Caine physically throwing Bryan Mosley onto mattresses, a dummy’s fall, and Brumby’s body landing atop a crushed vehicle.

Carter’s final chase after Eric was filmed at two locations approximately 35 miles apart: Blyth staithes and Blackhall Beach near Blackhall Colliery. The pursuit was shot in reverse sequence due to actor Hendry’s health condition. Hodges selected the beach setting for its stark, desolate ambiance; when bright sunlight interfered with filming, he waited for sunset to capture a more somber mood. The coal spoilings visible on the beach—deposited by a local conveyor system called The Flight—were subsequently removed as part of a £10 million environmental cleanup initiative named Turning the Tide.

Post-production

Producer Klinger remained actively involved throughout both filming and post-production phases, recommending John Trumper as editor. Although there were frequent creative disagreements, Hodges praised Trumper as an exceptionally talented editor whose contributions were vital to the final product. Sound editing and dubbing were overseen by Jim Atkinson, recognized for his meticulous attention to detail and close collaboration with Hodges. Initially concerned about overwhelming the novice director with choices, Klinger nonetheless witnessed an effective partnership between Hodges and Atkinson.

One distinctive sound effect—the screeching tires as Carter speeds away—was later sampled by composer Vangelis for the 1981 title track of the Jon and Vangelis album The Friends of Mr Cairo.

Music

The soundtrack was composed by jazz pianist Roy Budd, noted for previous scores such as Soldier Blue. Budd also wrote three vocal tracks: "Looking For Someone," "Love Is A Four Letter Word" (with lyrics by Jack Fishman), and "Hallucinations." The main theme, "Carter Takes a Train," performed by Budd’s jazz trio featuring Jeff Clyne on double bass and Chris Karan on percussion, was recorded live directly synchronized with the picture on a modest budget of £450. To reduce both time and expense, Budd simultaneously played harpsichord, Wurlitzer electric piano, and grand piano without overdubbing. The theme incorporates auditory elements inspired by the protagonist’s train journey from London to Newcastle.

Issued as a 7" vinyl single by Pye Records in 1971 under the title "Carter," backed with "Plaything," original pressings have become collector’s items valued around £100. The full soundtrack—including previously unreleased tracks—was initially available only in Japan through Odeon Records before being released in the UK in 1998 by Cinephile, a subsidiary of Castle Communications. In 2012, the theme appeared on Soul Jazz Records’ compilation British TV, Film and Library Composers.

Additional music featured in the film but not included on the official soundtrack comprises an upbeat cover of Willie Mitchell’s "30-60-90," performed live by the Jack Hawkins Showband at Oxford Galleries nightclub. A pub singer character delivers a rendition of "How About You?" written by Burton Lane and Ralph Freed. The Pelaw Hussars—a local juvenile jazz band and majorette troupe—also make appearances performing "When The Saints Go Marching In" and "Auld Lang Syne."

Theatrical

Get Carter had its Los Angeles debut on 3 February 1971.[1] The film was released in the United Kingdom on 10 March 1971, followed by its U.S. premiere on 18 March. Initially, it received an 'X' classification due to scenes of violence and nudity, which was subsequently downgraded to an 'R' rating.[18][1] A shortened version, trimmed by nine minutes, was issued in West Germany on 6 August 1971. Producer Michael Klinger utilized his expertise in distribution to spearhead an extensive promotional campaign across the UK, notably featuring teaser advertisements on London buses with the slogan "Caine is Carter".[19]

The original British quad poster, created by Arnaldo Putzu, depicted Carter wearing a floral-patterned jacket, a notable departure from the dark raincoat seen in the movie. Putzu could not explain this artistic decision but mentioned he was experimenting with floral motifs at that time.[20] Film scholar Chibnall criticized the flower power imagery as an ill-conceived effort to convey contemporary coolness within the genre.[21] Conversely, poster specialist Sim Branaghan admired its quirky nature.[20] Jonny Trunk of Trunk Records observed that the floral design echoed a bedspread featured in a pivotal scene. The poster also inaccurately represented certain props and characters from the film.[22] Promotional materials showed Carter wielding a pump-action shotgun, although he actually uses only a double-barrelled shotgun in the movie.

MGM transferred U.S. distribution rights to United Artists, who inadequately marketed the film due to apprehensions about the cockney accents. The release experienced delays caused by redubbing efforts intended to enhance clarity, which ultimately proved ineffective.[23] The original audio track was lost, leaving British television to broadcast only the redubbed American version for many years.[23] UA relegated the movie to fading drive-in theaters, pairing it as a secondary feature alongside Dirty Dingus Magee, a Frank Sinatra film.[24][25][26] In 1974, Klinger voiced his dissatisfaction with UA president Eric Pleskow over insufficient promotion in the U.S., seeking to reclaim distribution rights.[27]

The film encountered few censorship challenges; however, censor John Trevelyan expressed reservations about the sequence where Carter stabs Albert Swift.[28] In South Africa, Britt Ekland’s phone sex scene was excised, reducing her screen time though her name remained on advertising posters.[29]

Renewed interest during the 1990s prompted the British Film Institute (BFI) to issue a restored print in 1999. Working closely with Hodges, they obtained original negatives for the opening sequence from BBC archives and integrated them into a high-quality print.[23] This re-release debuted at the National Film Theatre and expanded widely on 11 June 1999, including screenings at Newcastle’s Tyneside Cinema.[23]

On 16 March 2022, the BFI collaborated with Warner Bros. and Warner Bros. Home Entertainment for another re-release at BFI Southbank as part of Return of the Outsider: The Films of Mike Hodges, which ran throughout May and featured events such as "Mike Hodges in Conversation". Subsequently, on 27 May, it opened broadly across UK and Irish cinemas with a newly completed 4K restoration personally approved by Hodges.[30]

Home media

Chibnall highlights that the film was broadcast on LWT in 1976 and again in 1980 in an edited form that omitted Britt Ekland's phone sex scene. It also appeared once on Westward Television and Granada in 1981. However, an uncut national airing did not occur until a post-watershed slot on the BBC in 1986. The movie made its home media debut in 1993 through MGM/UA’s "Elite Collection," receiving limited marketing despite earning a five-star rating from Empire, which described it as "one of the best British films of the 70s." Nonetheless, it failed to secure a place among Empire’s top fifty videos of that year.

In October 2000, Warner Bros. released a special edition DVD featuring the original 1.85:1 aspect ratio, three trailers—including an introduction by Michael Caine—and commentary tracks from Caine, Hodges, and Suschitzky. The audio was presented in mono Dolby Digital. This edition was also issued on VHS in 2001 alongside titles such as Bullitt and Shaft.

The film was part of the 2008 "Movies That Matter – 70's Classics" DVD collection, which also included Deliverance and Dog Day Afternoon. It remains accessible through the Warner Archive Collection as a Made on Demand DVD-R or digital download, featuring similar bonus content but formatted in 16:9 widescreen.

Warner’s Blu-ray release on April 22, 2014, contained the same special edition extras; however, it initially suffered from a manufacturing flaw that replaced the original audio with the dubbed American opening sequence. This mistake was rectified in subsequent UK pressings following public criticism.

On August 1, 2022, BFI Video issued a 4K restoration available on both standard and Ultra HD Blu-ray. The two-disc package includes all previous special features along with new audio commentary by critics Kim Newman and Barry Forshaw, an isolated music track, interviews with Hodges, Jonny Trunk, Petra Markham, and Tony Klinger, plus Philip Trevelyan’s documentary The Ship Hotel, Tyne Main. Additional materials include a booklet containing essays, postcards, and a double-sided poster reproducing the original UK poster artwork.

Critical response

Currently holding an 87% approval rating on Rotten Tomatoes based on 38 reviews with an average score of 7.50/10, the film is described as "Darkly entertaining and tightly wound, Get Carter is a gritty revenge story done right." Steve Chibnall pointed out a notable gender disparity among voters up to 2002, with women representing under 6%, though female participation rose significantly thereafter.

Chibnall characterized the early critical reception as mixed; British reviewers praised its strength and craftsmanship but criticized its moral ambiguity and violent content. Geoff Mayer noted that mainstream critics were unsettled by the intricate plot and Carter’s lack of remorse. Tom Milne of Sight and Sound lauded its narrative structure and character development but found Carter’s motivations inconsistent, oscillating between avenger and anti-hero.

Nigel Andrews dismissed the film for relying on stereotypical criminal figures, labeling it “perfunctory.” In contrast, Richard Weaver writing for Films and Filming commended its stark realism as “crime at its most blatant.” George Melly of The Observer acknowledged enjoying its intoxicating effect despite its harshness.

Chibnall observed that American critics were generally more receptive to the film’s hard-edged style. Pauline Kael admired its "calculated soullessness," suggesting it inaugurated a "new genre of virtuoso viciousness." The US trade magazine Box Office offered a cautiously favorable review emphasizing its appeal to action audiences while expressing skepticism about award recognition for Caine. Roger Ebert praised the film's confident execution and detailed depiction of working-class criminality, noting Caine’s portrayal of a tough yet ironic figure. Judith Crist in New York described Caine as "superb, suave and sexy," calling the movie a "hard, mean and satisfying zinger." Variety acknowledged its artistic merit and narrative clarity despite brutal plot elements. Conversely, Jay Cocks in Time criticized it as “doggedly nasty,” unfavorably comparing it to Point Blank. The film appeared on several year-end best-of lists by US critics.

In Michael Klinger's 1989 obituary for The Guardian, Derek Malcolm referred to it as "one of the most formidable British thrillers of its era."

Box office

Get Carter achieved notable commercial success, with Steve Chibnall describing its box office returns as "very respectable." During its debut week, it set a new record at London's ABC2 Shaftesbury Avenue cinema, earning £8,188 and surpassing the larger ABC1 venue's performance of Up Pompeii. The film also enjoyed strong attendance figures at ABC locations in Edgware and Fulham Road. In northern England, it experienced an impressive opening week, although an unexpected heatwave subsequently impacted audience numbers. Despite the film's somber tone mirroring the period's general atmosphere, viewers favored Love Story, which maintained its status as the most popular film in Britain throughout Get Carter's theatrical run. Overall, it ranked as the sixth most popular general release at the UK box office in 1971.

Accolades

At first, the film's only recognition was Ian Hendry’s nomination for Best Supporting Actor at the 1972 BAFTA awards. However, its critical standing has grown significantly over time: in 1999, it was placed 16th on the British Film Institute’s list of the Top 100 British films of the twentieth century; by 2004, British critics voted it the greatest British film ever in Total Film magazine. It appeared at number 225 on Empire magazine’s 500 Best Movies of All Time in 2008. The Guardian ranked it seventh among the greatest crime movies in 2010, with readers placing it fifth. In 2011, Time Out London included it at number 32 in their compilation of the 100 Best British Films.

Remakes

In 1972, MGM produced a blaxploitation adaptation titled Hit Man, credited as inspired by Ted Lewis’s novel Jack's Return Home. This version relocated the story to Los Angeles, featuring Bernie Casey as Tyrone Tackett (the equivalent of Jack Carter) and Pam Grier portraying Gozelda (Glenda’s counterpart). Director George Armitage was unaware of the original film during production and worked from an untitled script. While sharing several core plot points with Get Carter, Hit Man diverges notably—for example, including a tiger attack scene—and concludes without the protagonist dying. Both Hodges and critics considered Hit Man inferior; Lewis reportedly never received any royalties from this adaptation. Warner Archive issued a DVD-R release of this film in 2010.

Warner Bros., holding rights to MGM’s pre-1986 catalogue, produced another remake under the title Get Carter in 2000, starring Sylvester Stallone as Jack Carter. Initially announced in 1997 with various directors considered, Stephen Kay ultimately directed a screenplay by David McKenna. This version credits Lewis’s novel rather than Hodges’s film and incorporates scenes such as the opening train journey. Michael Caine appears as Cliff Brumby, while Mickey Rourke portrays antagonist Cyrus Paice. The remake was met with predominantly negative reviews and was withheld from UK theatrical release due to anticipated poor reception. Critics viewed it as inferior to the original; Rotten Tomatoes summarized it as confusing and unsatisfying, with mixed opinions on Stallone’s performance. Hodges reportedly described it as "unspeakable" and never watched it in its entirety. In 2004, British DVD rental users voted it the worst remake. It was released on Region 1 DVD in 2001.

Legacy

Numerous British directors have drawn inspiration from Hodges’s approach but seldom matched Get Carter's stark realism. Films such as The Long Good Friday, Face, and Lock, Stock and Two Smoking Barrels exhibit its influence. Steven Soderbergh’s 1999 movie The Limey serves as an homage combining themes of revenge and corruption reminiscent of Get Carter. Similarly, Shane Meadows’s Dead Man’s Shoes echoes its revenge-driven narrative set within provincial England. The television series Life on Mars also cites this film among its influences.

The soundtrack experienced renewed appreciation during the 1990s resurgence of vintage film music interest. Adrian Utley of Portishead praised its inventive minimalism. The Human League covered part of the theme on their 1981 album Dare. Stereolab included a rendition on their 1998 compilation Aluminum Tunes, which was later sampled by artist 76 for "Got Carter." Finnish rock group Laika & the Cosmonauts recorded a version for their 1995 album The Amazing Colossal Band. BB Davis & the Red Orchidstra released their take in 1999, while Jah Wobble produced a dub interpretation in 2009—demonstrating the theme's lasting appeal through its distinctive bassline.

See also

References

Bibliography
  • Steve Chibnall: Get Carter. British Film Guides #6. I.B. Taurus, 2003.

Further reading

  • Steve Chibnall & Robert Murphy: British Crime Cinema, Routledge, 1999
  • Steven Paul Davies: Get Carter And Beyond: The Cinema Of Mike Hodges, Batsford, 2003
  • Douglas Keesey: Neo-Noir: Contemporary Film Noir From Chinatown to The Dark Knight, Kamera Books, 2010

External links

  1. ↑ 1.0 1.1 1.2 Cite error: Invalid <ref> tag; no text was provided for refs named AFI
  2. ↑ Chibnall, p. 29
  3. ↑ Sabotage Times
  4. ↑ ShortList
  5. ↑ Gidney
  6. ↑ Telegraph Obituary
  7. ↑ Sabotage Times
  8. ↑ Chibnall
  9. ↑ Screen Daily
  10. ↑ Chibnall
  11. ↑ Chibnall
  12. ↑ Chibnall
  13. ↑ Chibnall
  14. ↑ The Independent
  15. ↑ Chibnall
  16. ↑ Chibnall
  17. ↑ Chibnall
  18. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Erickson
  19. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Klinger
  20. ↑ 20.0 20.1 Cite error: Invalid <ref> tag; no text was provided for refs named Branaghan-2007
  21. ↑ Chibnall, p. 90
  22. ↑ Chibnall, p. 133, footnote 1
  23. ↑ 23.0 23.1 23.2 23.3 Cite error: Invalid <ref> tag; no text was provided for refs named BFI-06-11-1999
  24. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Mayer-2003
  25. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Kornbluth-2005
  26. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Monahan-2011
  27. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named uwe-klinger
  28. ↑ Chibnall, 2003, p. 76
  29. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Chibnall, p. 61
  30. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named 2022 rerelease
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