Jack chases Eric along a beach. [90] He thought the general stance of British critics "was to admire the film's power and professionalism while condemning its amorality and excessive violence". [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. As with Hit Man, the film credited Ted Lewis' Jack's Return Home as its source, not Hodges' film, and again it contains scenes which are directly borrowed from the original, such as the opening train ride. Information extracted, Jack fatally stabs Albert. Framed by their ruthless arch-nemesis, a mismatched LAPD crime-fighting duo has to put its differences aside to even the score with the evil kingpin who put them behind bars once and for all. He waited hours until the sun began setting to capture the overcast shadowy lighting seen in the film. [114], Warner Bros., which holds the rights to the pre-1986 MGM library, produced a remake of Get Carter in 2000 under the same title, with Sylvester Stallone as Jack Carter. [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. [75] Jonny Trunk of Trunk Records—a long-time aficionado of the film and its history—has observed that the floral pattern of Carter's jacket is taken from the distinctive pillow and matching sheet design from the bed in the scene where Britt Ekland writhes naked whilst on the phone to Jack. In the early 2000s, £10 million was spent removing these conveyors and the concrete towers, and cleaning tons of coal waste from the beaches of East Durham. [1] Despite this, the film turned a respectable profit in the UK. The Finnish rock band Laika & the Cosmonauts cover the film's theme on their 1995 album The Amazing Colossal Band. Steven Soderbergh's 1999 film The Limey is a homage to Carter and other British gangster films, and contains similar plot elements and themes of revenge, family and corruption. Mar 20, 2011", "The Creative Producer – The Michael Klinger Papers", "A Conversation with Writer/Director Mike Hodges", "Mike Hodges: A concrete monstrosity, but it was perfect for my film", "Demolition of Gateshead Get Carter car park starts", "Michael Luvaglio / Dennis Stafford 12 years in prison, released on licence in 1979", "Chequered career of 'human rights' convict", "Notes on Some Limits of Technicolor: The Antonioni Case", "Wolfgang Suschitzky: "Get Carter" with Mike Hodges and Michael Caine", "An interview with Mike Hodges, April 10, 2010", "Hoping to get Caine for coastal spectacle", "Roy Budd – Get Carter (An Original Soundtrack Recording)", "ROY BUDD CARTER GET CARTER UK SOUNDTRACK 7" SINGLE PYE MICHAEL CAINE COVER NM", "Soundtracks from other Countries >> Japanese Soundtracks: Get Carter cover", "Soul Jazz collect TV Sound and Image on new compilation: Jonny Trunk assists", "Transcript of 'British Film Posters' podcast, Talk given in August 2007 at the Walker Art Gallery", "Entertainment Get Carter: Original and best", "Top 5 British Crime and Suspense Films from the '60s and '70s", "Promotion problems in America for 'Get Carter' and 'Pulp, "The greatest films of all time: download the data", "The crime 25: do you agree with our rankings? Sound editing and dubbing was done by Jim Atkinson, whom Hodges described as "so obsessive about the job". Get Carter had to make do with ambivalence". [30] [37] The film was voted the worst remake of all time in 2004 by users of British DVD rental website ScreenSelect (precursor of Lovefilm).[120]. A young hot shot driver is in the middle of a championship season and is coming apart at the seams. 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. The theme was released as a 7" vinyl single by Pye Records in 1971, titled simply Carter and backed with "Plaything", another piece composed for the soundtrack. Having avenged his dead brother and the sexually abused Doreen, Jack walks along the shoreline. 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. Nearly 30 years after GET CARTER and its American cousin HIT MAN there was another version of the movie and/or its source novel, Jack’s Return Home by Ted Lewis. [97], Steve Chibnall writes that "America was rather more used to hard-boiled storytelling" and that reviewers there were "more prepared than British criticism to treat Get Carter as a serious work",[98] Pauline Kael admiring its "calculated soullessness"[99] and wondering if it signalled a "new genre of virtuoso viciousness". $2.99 Rent HD. [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. 7 of 10! Chibnall writes that "Interestingly, although [the film's] downbeat and unsentimental tone is now thought to express the mood of its times, the mass cinema audience preferred Love Story (Arthur Hiller 1970), which remained the most popular film in Britain throughout Get Carter's run". Many believed the crime was part of a failed attempt by the Kray twins to gain control of the Newcastle underworld. He suggested Hodges use John Trumper as editor. The musicians recorded the soundtrack live, direct to picture, playing along with the film. [86], Warner Bros. reissued the film in a special edition on DVD in October 2000 in its original 1.85:1 aspect ratio. [56] Hodges tried to rehearse the racecourse scene between Caine and Hendry in their hotel the night before shooting, but "Hendry's drunken and resentful state forced Hodges to abandon [the] attempt". The film's music also enjoyed its own resurgence in popularity, as it tapped into a 1990s interest in vintage film soundtracks. The movie has an extraordinary visual quality, the titles and the music are worth seeing and hearing this movie. In 2000 it was remade with Sylvester Stallone and included Caine. The soundtrack was presented in 1.0 mono Dolby Digital[87], The film was bundled in the 2008 "Movies That Matter – 70's Classics" DVD set with Deliverance and Dog Day Afternoon. 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. Talking to the widow, daughter Doreen, and enigmatic Geraldine, Jack suspects it was murder. Get Carter Year 2000 Genre Crime Action Drama Thriller Type Movies IDMB rating 5.2 (32207 votes) Netflix rating 5.2 Metacritics rating 24.0 Rotten Tomatoes rating 11.0% Directors Stephen Kay Actors Sylvester Stallone, Rachael Leigh Cook, Alan Cumming, Miranda Richardson, Michael Caine, John C. McGinley, Mickey Rourke, Rhona Mitra Mike Hodges explained that Howard was an extra in his TV film Rumour, and the director gave him a line to say, but another extra was wrongly credited. This lab processed Kodak's Eastman Color Negative, so it is most likely the film was shot on this stock. Get Carter movie reviews & Metacritic score: Hit man Jack Carter (Stallone), a mob enforcer in New York, returns to his hometown of Los Angeles for his brother's funeral. View the profiles of people named Get Carter. 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. ", "Movie Review Get Carter (2000) FILM REVIEW; Slimline Stallone, With a Bruising Touch and a Gentle Mutter", "Dead Man's Shoes at the Venice International Film Festival", https://en.wikipedia.org/w/index.php?title=Get_Carter&oldid=1000898949, Short description is different from Wikidata, Articles with unsourced statements from May 2012, Wikipedia articles with WorldCat-LCCN identifiers, Creative Commons Attribution-ShareAlike License, Dorothy White as Margaret. [12] A censored edited version was released in West Germany on 6 August 1971, with a running time nine minutes shorter than the original. He gave Hodges multiple possibilities of how the sound could be dubbed, and explored every angle. [118] It was so badly received on its US release that Warner Bros. decided not to give it a UK theatrical release, anticipating the film would be savaged by British critics and fans. Association of Cinematograph, Television and Allied Technicians, "Defining Moment: 'Get Carter' rewrites the gangster movie, March 1971", "Get Carter celebrates its 40th anniversary", "Get Carter, AFI Catalog of feature films", "Did You Ever Meet Elvis? Overcome with emotion, Jack becomes enraged and pushes Glenda's head under water as she is taking a bath. When his brother dies under mysterious circumstances in a car accident, London gangster Jack Carter travels to Newcastle to investigate. If you want to continue to explore the fascinating world of "WandaVision," we have you covered with some inspired recommendations. [7][38] Hodges thoroughly researched the local Newcastle crime scene, adapting the script to make use of settings and incorporating elements of his research into the story. Get Carter movie reviews & Metacritic score: Hit man Jack Carter (Stallone), a mob enforcer in New York, returns to his hometown of Los Angeles for his brother's funeral. [106], On Rotten Tomatoes, the film has an approval rating of 84% based on 32 reviews. [111] In the accompanying poll conducted amongst Guardian readers, it was voted fifth. 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. Usually we get all flash and no humanity, lots of fancy camera tricks but no feel for the criminal strata of society". Get Carter is a 1971 British crime film written and directed by Mike Hodges and starring Michael Caine, Ian Hendry, Britt Ekland, John Osborne and Bryan Mosley. He then posts the pornographic film to the vice squad at Scotland Yard in London. There was pressure from MGM to have more big-name American stars in the film, which was successfully resisted by Hodges. [101] The reviewer also opined that "Tighter editing would help considerably". A Las Vegas mob enforcer travels back to his hometown to investigate his brother's mysterious death. [50][51], Principal photography took place in the north east between 17 July and 15 September 1970. It also performed strongly when moved to the ABCs in Edgware and Fulham Road. And one very seldom quality at the end: This movie is not to long. The shoot was largely incident-free and progressed speedily, despite a one-day strike by the Association of Cinematograph, Television and Allied Technicians. The story is based upon the original where Carter (Stallone) who is an enforcer for a gangster returns home to his brother’s funeral. As Eric and Con escape, they push the sports car into the river unaware that Glenda is in the boot. He's tough and ruthless, but very quiet and charged with a terrible irony". Albert confesses he told Brumby that Doreen was, indeed, Frank's daughter. Godfrey Quigley was cast as Eddie, a colleague of Frank Carter's. Years ago, Jack Carter left his Seattle home to become a Las Vegas mob casino financial enforcer. Watch Get Carter 2000 in full HD online, free Get Carter streaming with English subtitle [31], Klinger had been approached in 1969 by another producer, Nat Cohen, to make films for Metro-Goldwyn-Mayer (MGM). Get Carter is therefore a much more socially conscious film than any of its modern counterparts. Want to share IMDb's rating on your own site? Stereolab also covers Roy Budd's theme on their album Aluminum Tunes, although they call their version "Get Carter", as opposed to its proper title, "Main Theme (Carter Takes A Train)". Tailing Eric leads him to the country house of crime boss Cyril Kinnear (John Osborne). [75] Chibnall describes the flower power imagery as "what seems like a desperate and misguided attempt to suggest the hipness of a genre which had largely fallen out of favour". 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