He telephones Kinnear in the middle of a wild party, telling him he has the film and makes a deal for Kinnear to give him Eric in exchange for his silence. The musicians recorded the soundtrack live, direct to picture, playing along with the film. The film's release was delayed while parts of the film were redubbed, with no great improvement. Miranda Richardson, Rachel Leigh Cook, Mickey Rourke and Michael Caine (who starred in the original … After watching their respective partners die, a New Orleans hitman and a Washington, D.C. detective form an alliance in order to bring down their common enemy. For other uses, see, 1971 Mike Hodges film starring Michael Caine. [43], The location for Cyril Kinnear's house, Dryderdale Hall, near Hamsterley, Bishop Auckland, provided a real-life connection with organised crime. In 2000 it was remade with Sylvester Stallone and included Caine. The series' set designers and property masters state that, while the audience and critics may liken the series to The Sweeney, Get Carter was their visual guide and the source of series' look. Ben Aris, who plays one of the architects, is better known for British situation comedies. Talking to the widow, daughter Doreen, and enigmatic Geraldine, Jack suspects it was murder. [30] Hodges had also previously worked on current affairs programme World in Action, the arts programme Tempo and a 1968 children's television serial, The Tyrant King, and all these past experiences informed his approach to his film debut. [52][53] Asked to comment on what he was aiming for in the look of the film, cinematographer Wolfgang Suschitzky said "The camera work on it... it was very influenced by Mike Hodges who has a very good eye for setups and he of course conferred with his operator and myself, but he influenced all of us, and much of the good look is due to him, I confess. Jack encounters another old associate, Eric Paice (Ian Hendry), who refuses to tell Jack who is employing him as a chauffeur. Having avenged his dead brother and the sexually abused Doreen, Jack walks along the shoreline. He forces Eric to drink a full bottle of whisky as Eric had done to Frank, then beats him to death with his shotgun. A Las Vegas mob enforcer travels back to his hometown to investigate his brother's mysterious death. At one point Klinger and Caine asked if Hodges might work in a "chase sequence", but he persuaded them that it would draw too many comparisons with Bullitt[2] (a chase sequence between Carter and the London gangsters is mentioned in the shooting script). The Finnish rock band Laika & the Cosmonauts cover the film's theme on their 1995 album The Amazing Colossal Band. [89], Describing the initial critical response to the film, Steve Chibnall wrote "Initial critical vilification or indifference establishes the conditions in which a cult can flourish. Back in town, Jack is threatened by henchmen who want him to leave town, but he fights them off, capturing and interrogating one to find out who wants him gone. [110] In October 2010 the critics from The Guardian newspaper placed the film on their list of "Greatest Films of All Time", placing it at number 7 in the 25 greatest crime films. Add to Wishlist. [6] In 2008 the film was placed at 225 on Empire's 500 Best Movies of All Time list, which was selected by over 10,000 Empire readers, 150 filmmakers and 50 film critics. A former CART champion is called in to give him guidance. [2], In 1969, producer Michael Klinger devised plans for a gangster film to capitalise on public interest in the British criminal underworld after the Kray Twins' convictions. [36] Steve Chibnall writes "It proved a perfect location, wreaking [sic] of authenticity and full of useful details such as the cowboys and indians wallpaper...the African shield and crossed spears on the wall of the crime lord's living room". Forcing Glenda into the boot of her car, Jack drives off to find Albert. [64] The Human League album Dare contains a track covering the Get Carter theme, although it was only a version of the sparse leitmotif that opens and closes the film as opposed to the full-blooded jazz piece that accompanies the train journey. Overview System Requirements Related. Get Carter is a 1971 British crime film written and directed by Mike Hodges and starring Michael Caine, Ian Hendry,[3] Britt Ekland, John Osborne and Bryan Mosley. The film was released in the United States on October 6, 2000. 7 of 10! Get Carter was remade in 2000 by Warner Bros. under the same title, with Sylvester Stallone starring as Jack Carter, while Caine appears in a supporting role. [107] Get Carter is a 2000 American action thriller film directed by Stephen Kay and starring Sylvester Stallone, Miranda Richardson, Rachael Leigh Cook, Alan Cumming, Mickey Rourke, John C. McGinley, Michael Caine, and Rhona Mitra.It is a remake of the 1971 film of the same name, in which a younger Caine played the leading role.. The remake was poorly-received by critics in the US, and was not given a UK theatrical release. [42] Hodges described how wandering alone through the upper structure, he realised how the different levels could be used to reveal the hunter, Carter, and the hunted, Brumby, simultaneously but without either being aware of the other – adding to the suspense. Times [London, England] 30 Dec. 1971: 2. Get Carter (2000) / Get Carter (1971) 2019. [1] Despite this, the film turned a respectable profit in the UK. Jack lies dead on the shore with the waves beginning to lap up against him. Information extracted, Jack fatally stabs Albert. Portishead's Adrian Utley explained that they found the music to Get Carter inspiring as "it was done quickly and cheaply with only a few instruments, and it had to be intensely creative to disguise its limitations". Overview. In contrast, Nigel Andrews found the characters to be clichéd archetypes of the criminal underworld, such as the "homosexual chauffeur, bloated tycoon, glamorous mistress", describing the film as "perfunctory". Mike Hodges' 1971 British gangster thriller is, even today, a triumph of hard boiled crime cinema and perhaps one of the greatest British films of all time. Someone breaks into Richie's home, looking for a crucial CD. [126], This article is about the 1971 film. Eric and two of his men arranged Frank's death. Apparently there was a Get Carter appreciation club that was trying to get a preservation order put on the car park in Gateshead and Quentin Tarantino was in it. Web. [115] Michael Caine appears as Cliff Brumby in what Elvis Mitchell described as "a role that will increase regard for the original", speculating that "maybe that was his intention". Professional hit-man Robert Rath wants to fulfill a few more contracts before retiring but unscrupulous ambitious newcomer hit-man Miguel Bain keeps killing Rath's targets. [101] The reviewer also opined that "Tighter editing would help considerably". A young hot shot driver is in the middle of a championship season and is coming apart at the seams. Also lost was the backstory of Carter's dealings with Eric Paice during their time as rival gangsters in London, in particular, Eric's violent treatment of Carter's lover Audrey (Anna in the screenplay) the memory of which fuels Carter's hatred.[38]. Keep track of everything you watch; tell your friends. MGM sold distribution rights to the film in the U.S. to its future subsidiary United Artists, which promoted it poorly, amidst worries the cockney dialogue in the opening scene would be unintelligible to U.S. audiences. The sniper rifle is wielded by Kinnear's hitman (only identified as "J" but who we have already seen as a fellow passenger when Carter takes the train up to Newcastle) who then carefully wraps his equipment before calmly walking away with it in his bag. Jack drives Margaret to the grounds of Kinnear's estate, kills her with a fatal injection and leaves her body there. Wild Hammond and Drum Duo with James Mackie (ex 'Selecter' and 'Madness') on organ and John Elles on drums. It's intoxicating all right, but it'll do you no good". In 2000 it was remade with Sylvester Stallone and included Caine. The key to the success of Get Carter is the way in which the movie immediately engages the audience and fosters a relationship with it based upon perception, which, in the first instance, is always the key to the bond between viewer and director. And even if you have seen the 1971 original, not everyone can remember all the details - at least I couldn't. When his brother is killed in an accident, cold-blooded gun for hire Jack Carter (Sylvester Stallone) returns home to make peace with his past. Carter's killing of Brumby[40] and his own assassination were further alterations from the novel, emphasising the film's parallels with revenge tragedy[38] and Carter's role as what Geoff Mayer calls "the moral agent... a "knight" forced to dispense his own sense of justice in a corrupt world". The movie has an extraordinary visual quality, the titles and the music are worth seeing and hearing this movie. [95] Get Carter was an iconic 1970s film with Michael Caine that was known for bringing realism to the crime genre. [59][60] The chase scene was shot in reverse, with Hodges filming Eric's death scene first because of Hendry's poor condition, Hodges being worried that he would be too out of breath to play the death scene after running. Hodges said that he and Trumper argued and disagreed constantly, but he still thought he was a "brilliant, brilliant editor" and was "very grateful to him for ...how much he contributed". [30] MGM agreed a reasonable but below-average budget of 750,000 (there is some dispute as to whether this figure refers to dollars or pounds)[2] for the production. See here: Peter Waymark. At this time Klinger's friend Robert Littman had been appointed head of MGM Europe and so Klinger took his proposal to him. Several of the company's actors were also in background shots in the film including the casino, streets, bars and the police raid scene. [30] Klinger had seen Mike Hodges' television film Suspect (1969) and immediately decided he was the ideal candidate to direct his new project. Unsatisfied with the official explanation, Jack investigates for himself. [47] Michael Klinger and the MGM publicity spokesman dismissed the use of the location as mere coincidence; however, Hodges was aware of the significance of the house and chose it deliberately. [68] It was released in the UK in 1998 by the Cinephile label, a subsidiary of Castle Communications. He returns for the funeral of his brother Richard "Richie" after a car crash during a storm, atypical of the careful house-father. Jack is attacked by the London gangsters and Eric, who has informed Fletcher of Jack and Anna's affair. [112] In 2011 Time Out London placed the film at 32 in its 100 Best British Films list, which was selected by a panel of 150 film industry experts. Jah Wobble produced a dub cover version of the theme tune in 2009. [50][51], Principal photography took place in the north east between 17 July and 15 September 1970. Cliff Brumby, whose club Richie ran, is financially linked to porn and prostitution baron Cyrus Paice, who claims to be just a front-man for ITC tycoon Jeremy Kinnear. There are four simultaneous conversations, with a lot of plot exposition and the introduction of two important characters, Kinnear and Glenda. And one very seldom quality at the end: This movie is not to long. [108] In 2003 Steve Chibnall observed a large gender imbalance in voting on the film up to April 2002, with less than 6% of votes cast (where the voters gave their gender) by women (53 out of 947). Klinger was present on set for much of the film shoot. With Michael Caine, Ian Hendry, Britt Ekland, John Osborne. As well as Telly Savalas, names posited by Klinger and studio executives were Joan Collins, and someone Hodges described as "the Canadian lead actress in TV's Peyton Place", which most probably means Barbara Parkins. [78] It was also re-released in Germany and Greece in 2000 and in France in 2004. His name does not appear on the credits of some prints. Producer Michael Klinger optioned the novel and made a deal with the ailing Metro-Goldwyn-Mayer (MGM) to finance and release the film, making it the last project to be approved by the studio's Borehamwood division before its closure. Asked in 2006, Putzu could not remember his artistic rationale for painting the floral jacket, but said he was painting a lot of flowers in designs at that time. [31], Klinger had been approached in 1969 by another producer, Nat Cohen, to make films for Metro-Goldwyn-Mayer (MGM). Jack has sex with Glenda at her flat, where he finds and watches a pornographic film where Doreen is forced to have sex with Albert Swift. Get Carter is therefore a much more socially conscious film than any of its modern counterparts. However, Hodges said he encountered very little interference by the producer. Stallone is out to take vengance on the murderers of his brother, a decent barman working to support his family. "Richard Burton top draw in British cinemas". 479 likes. The conveyor, a common sight on the East Durham coast, was known locally as 'The Flight'. Get Carter had to make do with ambivalence". On its opening week at ABC2 cinema at Shaftesbury Avenue, London, it broke the house record, taking £8,188. [5] In 1999, Get Carter was ranked 16th on the BFI Top 100 British films of the 20th century; five years later, a survey of British film critics in Total Film magazine chose it as the greatest British film. On IMDb Get Carter's average rating is 7.6 based on 12,329 user votes. Jack meets Margaret to talk about Frank, but the Fletchers' men are waiting and pursue him. [124][125] Wobble had long been a fan of the bassline of the track, saying in a 2004 interview with The Independent that "There are some bass lines that contain the whole mystery of creation within them". The music playing in the nightclub scene is an uptempo cover of the 1969 Willie Mitchell tune "30-60-90"[70] performed live by the Jack Hawkins Showband, which was the resident band at the Oxford Galleries night club. Returning to the car park Jack finds Brumby, beats him senseless and throws him over the side to his death. [34] Within months of agreeing the deal MGM had pulled out of the UK. [98] It was the sixth-most popular "general release" movie at the British box office in 1971. Someone hired goon Thorpey to make Jack return to Las Vegas. Hodges moved the camera and the boom closer to Osborne as the scene progressed. This Stereolab version was subsequently used as a sample in the song "Got Carter" by 76. View the profiles of people named Get Carter. [12], The film's premiere was held in Los Angeles on 3 February 1971, with a preview held in New York on 3 March. Jack goes to Newcastle Racecourse seeking old acquaintance Albert Swift (Glynn Edwards) for information about his brother's death, but Swift spots Jack and evades him. American critics were generally more enthusiastic, but the film was poorly promoted in the US by United Artists and languished on the drive-in circuit, while MGM focused its resources on producing a blaxploitation-themed adaptation of the novel, Hit Man. Get Carter marked the film debut for both Hodges and supporting actor Alun Armstrong. Get Carter. [111] In the accompanying poll conducted amongst Guardian readers, it was voted fifth. Initial UK critical reception to the film was mixed; reviewers grudgingly appreciated the film's technical achievements but were dismayed by the complex plot, violence and amorality, in particular Carter's apparent lack of remorse at his actions. [93][94] Get Carter director Mike Hodges on meeting Caine, Ali and Kubrick", "Get Carter: 40th Anniversary 112 minutes that revolutionised the gangster film", "The crime-genre game-changer Get Carter turns 40. The production went from novel to finished film in eight months, with location shooting lasting 40 days. Intertainment sued Franchise in December 2000 for fraudulently inflating the budgets for their movies, so that Intertainment ends up shouldering more than the 47% of the production costs they contractually agreed to cover for a huge slate of Franchise pics. Sylvester Stallone stars in the remake as Jack Carter, a Vegas enforcer who finds himself questioning his loyalties when traveling back to Seattle to bury his brother. [34] However, in his DVD commentary Hodges implies that he did not see Carter as morally any more justified than those he kills, and his death is intended to present his actions to the audience as morally bankrupt and futile: "I wanted him to be dealt with in exactly the same way he dealt with other people. $5.99 Buy HD. He gave Hodges multiple possibilities of how the sound could be dubbed, and explored every angle. Bundles containing this item. Albert confesses he told Brumby that Doreen was, indeed, Frank's daughter. You must be a registered user to use the IMDb rating plugin. Want to share IMDb's rating on your own site? The first remake was George Armitage's 1972 film HIT MAN. The next morning two of Jack's London colleagues – Con McCarthy and Peter the Dutchman (George Sewell and Tony Beckley) – arrive, sent by the Fletchers to take him back, but he escapes. Kevin Brennan appears as Harry the card-player. [55] At the advice of Richard Lester, Hodges and his assistant director stayed at a separate hotel to the rest of the cast and crew, which enabled him to have some respite from the production after the shooting day was done. Chibnall notes "it did not, however, find a place in Empire's top fifty videos of the year". [74] It was later reclassified as 'R', meaning children under the age of 17 had to be accompanied by an adult. A tough-on-crime street cop must protect the only surviving witness to a strange murderous cult with far-reaching plans. A lead detective being stalked by a serial killer is asked to check into a clinic treating law enforcement officials who can't face their jobs. [54] In the first week of shooting in Newcastle, the ACTT called the crew out on a one-day strike. For years the version shown on British television was the redubbed American cut. Get Carter is one of them. [78] In the process of redubbing the opening, the version of the film with the original dialogue was lost. Teaser posters for the film appeared on the front of buses across London, featuring the tag-line "Caine is Carter".[2]. Roger Ebert was less reserved in his praise, writing that "the movie has a sure touch". But when evidence of foul play surfaces, Carter's mission becomes one of retribution rather than redemption. The poster also places Carter's shotgun in Eric's hands, and features a grappling man and woman who seem to belong to a different film. Someone hired goon Thorpey to make Jack return to Las Vegas. Hodges promised he would make it up to him and cast him in Carter, but his name was missed off some of the original prints. Despite this, the release was given a five-star review in Empire, where it was described as "one of the best British films of the 70s". He found Carter's motivations were inconsistent, either being an avenging angel or an "authentic post-permissive anti-hero, revelling in the casual sadism". [77] Promotional shots and poster artwork exist from the film showing Carter holding a pump action shotgun; in the finished film the only shotgun used by Carter is a double-barrelled shotgun, which Carter finds on top of his brother Frank's wardrobe. [38] As Ted Lewis had not specified where his novel was set, Hodges felt free to relocate the story[39] to a place he was familiar with, considering Grimsby, Lowestoft, Hull and North Shields[2] before deciding on Newcastle Upon Tyne. [7] Newcastle was selected after Hodge's first choice of Hull proved to be unsuitable. The remake was compared unfavourably to the original by the majority of reviewers. Visiting Brumby's house Jack discovers the man knows nothing about him and, believing he has been set up, he leaves. KGF Vissers. 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