Get Carter 

(This post is part of the Rule, Britannia Blogathon hosted by A Shroud of Thoughts)

In Get Carter (1970), London gangster Jack Carter (Michael Caine) returns to his hometown of Newcastle to investigate the sudden and mysterious death of his brother. When he finds that his brother was murdered and his niece (who may be Carter’s daughter) was steered into making a pornographic movie, Carter relentlessly and violently tracks down everyone involved. (And without giving away too much, Carter the hunter has no idea that he’s also being hunted). 

“British gangsters were seen as silly or funny in the movies, and I knew from my background that all of the above wasn’t true,” said Caine. Carter may have a subtle sense of humor, but he’s also uncompromising, with a slow-burning temper that builds quickly into sudden violence. Immoral, as you’d expect from someone in his profession, but with a strong sense of family honor. 

Filmed on location, Newcastle’s rowhouses, outdoor plumbing and beach blackened with coal waste provide a grim setting. As Carter travels there by train, director Mike Hodges shows fleeting glimpses of the countryside, including several nuclear power plants, signaling that the glory days of Newcastle, once the center of a huge coal mining area, are vanishing. 

Back in Newcastle, Carter throws money around to smooth over any problems and shows off his slick metropolitan ways at the local pub when he orders a pint of bitter, then hesitates, adding “in a thin glass.” When his niece tells him she’s left school for a job at Woolworths, his deadpan, “That must be very interesting,” says it all about his contempt for his past life. 

Caine’s strong supporting cast included several actors with pedigree status in British popular culture. John Osborne, the original Angry Young Man, launched the British social realism with his play, Look Back in Anger (1956). Ian Hendry, who was under consideration to play Carter, starred in the first version of The Avengers (1961). Britt Ekland, maybe best known for her active social life, was in The Wicker Man (1973). 

Roy Budd’s soundtrack in jazzy and groovy with occasional Indian tabla percussion, and director Hodges allows some ambient noise, a ship’s horn, wind, to filter into some scenes, adding to the realism.

One moment in Get Carter easily overlooked is one of product placement: a copy of the Rolling Stones’ Let It Bleed album in a scene that also triggers the film’s bloody final act (see below). Released in late 1969, the record – like Carter – feels like it has a lit fuse burning through it, about to blow up what was left of the Swinging Sixties. To echo the final song on the record, You Can’t Always Get What You Want, Carter will get what he needs, but ultimately not what he wants. 

Get Carter was released in the U.S. on a double bill with Frank Sinatra’s awful Dirty Dingus Magee. “We were in the toilet in two weeks,” Caine later said, crediting cable TV with introducing Carter to a larger audience. 

If gritty realism, urban settings, a true anti-hero and intricate plotting all count for something, Get Carter owes as much to the British kitchen sink social realism movement as it does film noir, making it the quintessential British crime film. 

As Caine said when marking the 50^th anniversary of Get Carter: “If you’d told me (then) that I’d still be talking about it now, I might not have believed you. Some films are special.”