Years ago, Jack Carter left his Seattle home to become a Las Vegas mob casino financial enforcer. He returns for the funeral of his brother Richard 'Richie' after a car crash during a storm... See full summary »
Rachael Leigh Cook,
What is real and what is fiction? Faced with writer's block with his novel, Lewis Fielding turns to a film script about a woman finding herself after his wife Elizabeth returns from Baden ... See full summary »
Harold, a prosperous English gangster, is about to close a lucrative new deal when bombs start showing up in very inconvenient places. A mysterious syndicate is trying to muscle in on his ... See full summary »
A vicious London gangster, Jack Carter, travels to Newcastle for his brother's funeral. He begins to suspect that his brother's death was not an accident and sets out to follow a complex trail of lies, deceit, cover-ups and backhanders through Newcastle's underworld, leading, he hopes, to the man who ordered his brother killed. Because of his ruthlessness Carter exhibits all the unstopability of the android in Terminator, or Walker in Point Blank, and he and the other characters in the film are prone to sudden, brutal acts of violence. Written by
Mark Thompson <firstname.lastname@example.org>
Mike Hodges described Michael Caine as "a complete dream to work with". Caine only lost his temper once on set, during the very tense and emotional day filming in Glenda's flat, when the focus puller ruined his first take. Caine apologised immediately. See more »
In the scene when Jack Carter goes into the cafe and asks Geraldine "Where's Albert", you can see the rear end of Kinnear's big blue Cadillac car parked in the street outside. See more »
[blocking Carter's path]
Listen, I don't like it when some tough nut comes pushin' his way in and out of my house in the middle of the night! Bloody well tell me who sent you!
You're a big man, but you're in bad shape. With me it's a full time job. Now behave yourself.
[Brumby takes a swing at Carter, who grabs his hand, punches him, and then slaps him in the face for good measure]
[as he's leaving]
Goodnight, Mrs. Brumby.
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Get Carter, not just one of the finest exponents of British neo - noir, but one of the greatest British films ever, period. Michael Caine stars as Jack Carter, a tough no nonsense operator in the London underworld who returns to his home town of Newcastle Upon Tyne when his brother turns up dead.
Directed and adapted to screenplay by Mike Hodges from Ted Lewis' novel Jack's Return Home, Get Carter is a bleakly atmospheric masterwork that takes the period setting of the time and blends harsh realism with film noir sensibilities and filters it through an uncut prism of doom.
Jack Carter as created by Caine and Hodges is the quintessential film noir anti-hero. He smokes French cigarettes and reads Raymond Chandler, there is no hiding the respect and homages to classical noir pulsing away as Jack goes on his not so merry way. He's a vengeful angel of death, but sexy as hell with it, he even has humorous pearls of wisdom to spout, delivered with relish by Caine who is at his snake eyed best.
In a strange quirk of the narrative, Jack is home but he's a fish out of water, he's a suited and booted Cockney lad moving amongst the flotsam and jetsam of North Eastern society. It's a crumbling landscape of terraced houses and coal yards, of seedy clubs and bed and breakfast establishments where, as Jack wryly observes, the beds have seen untold action.
Jack Carter is a hard bastard, borderline psychotic once his mind has tuned into the frequency that plays to him the tunes of mistrust, of double-dealings, liars and thieves, of pornographers and gangsters who thrive on gaining wealth while the society around them falls into a depression. It's Fog on the Tyne for sure here. Yet Jack is not devoid of heartfelt emotion, his family ties are strong, and there is a point in the film when Jack sheds a tear, it is then when we all know that all bets are off and there will be no coming back from this particular abyss.
Hodges and cinematographer Wolfgang Suschitzky strip it all back for maximum impact, so much so you can smell the salt of the murky sea, feel your lungs filling up with chimney smoke, the whiff of working class sweat is all around, and all the time Roy Budd's contemporary musical score jingles and jangles over proceedings like a dance of death waiting to reach its operatic conclusion. And with Caine backed up by a roll call of super working class character actors, Get Carter just gets better as each decade of film making passes.
Like its antagonist/protagonist (yes, Jack is both, a deliberate contradiction) it's a film as hard as nails, where home format releases should be delivered through your letterboxes in a metal case. No lover of film noir can have an excuse to have not seen it yet. Funny, sexy, brutal and not without a ticking time bomb of emotional fortitude as well, Get Carter is the "A" Bomb in Grey Street. 10/10
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