Michael Caine

Ian Hendry

Britt Ekland

John Osborne

Tony Beckley

George Sewell

Geraldine Moffat

Rosemarie Dunham

Petra Markham

Alun Armstrong

Bryan Mosley

Glynn Edwards

Bernard Hepton

Terence Rigby

John Bindon

Mike Hodges

Michael Klinger

Ted Lewis

Get Carter

Get Carter was a financial success, and according to Steve Chibnall its box office takings were "very respectable". On its opening week at ABC2 cinema at Shaftesbury Avenue, London, it broke the house record, taking £8,188. It out-performed Up Pompeii, which was showing in the larger ABC1. It also performed strongly when moved to the ABCs in Edgware and Fulham Road. On its general release in the North of England, Chibnall notes it had a "very strong first week", before an unseasonal heatwave damaged cinema attendance. 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". It was the sixth-most popular "general release" movie at the British box office in 1971.

Locations along the east coast of England had been scouted by Hodges and Klinger in the spring of 1970, to find a landscape that suggested a "hard, deprived background". Newcastle was selected after Hodges's first choice of Hull proved to be unsuitable. 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. His background at World in Action had made him accustomed to making films based on hard investigation and this informed his approach to Get Carter. One of the first locations which attracted Hodges's attention was the Trinity Square multi-storey car park, which dominated the centre of Gateshead. To Hodges, the car park and the cast iron bridges over the Tyne, "seemed to capture the nature of Jack Carter himself". The car park embodies one of the film's more subtle themes, which is the destruction of an old cityscape and its rebuilding in line with modern Brutalism. 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. The shopping centre and car park were closed in early 2008 and demolished in late 2010.

The location for Cyril Kinnear's house, Dryderdale Hall, near Hamsterley, Bishop Auckland, provided a real-life connection with organised crime. It was the recently vacated country house of North East fruit machine businessman Vince Landa, who had fled the country in 1969 after the murder of his right-hand man Angus Sibbett, the so-called one-armed bandit murder. Many believed the crime was part of a failed attempt by the Kray twins to gain control of the Newcastle underworld. 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. 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". The Landa case also is referenced at the start of the film with a shot of a newspaper bearing the headline "Gaming Wars". Other locations in Newcastle and Gateshead, Northumberland and County Durham were also used.

Klinger was a hands-on producer who remained present throughout shooting and in post-production. He suggested Hodges use John Trumper as editor. 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". Sound editing and dubbing was done by Jim Atkinson, whom Hodges described as "so obsessive about the job". He gave Hodges multiple possibilities of how the sound could be dubbed, and explored every angle. Klinger was worried that the debut director might be overwhelmed with too many options, but Hodges said he and Atkinson got on very well.

Michael Caine as Jack Carter. Mike Hodges wrote the screenplay with Ian Hendry in mind for Carter, but learned that Michael Klinger had already signed up Caine for the role. With the backing of a major studio, Klinger was keen to secure a big name for the lead, and Caine was very prominent at the time, having starred in Alfie, The Italian Job and The Ipcress File. Hodges was surprised that a star of Caine's stature would want to play such a thoroughly unlikeable person as Carter. Giving his reasons for wanting to be involved with the film, the actor said "One of the reasons I wanted to make that picture was my background. In English movies, gangsters were either stupid or funny. I wanted to show that they're neither. Gangsters are not stupid, and they're certainly not very funny". He identified with Carter as a memory of his working-class upbringing, having friends and family members who were involved in crime and felt Carter represented a path his life might have taken under different circumstances: "Carter is the dead-end product of my own environment, my childhood; I know him well. He is the ghost of Michael Caine". He made subtle changes to Hodges's depiction of Carter in the script, cut out pleasantries and gave him a cold, hard edge; closer to Lewis's original envisioning of the character. Although he is not credited as such in the film, Caine has been acknowledged in retrospect as a co-producer. By a strange coincidence, Caine's stand-in on the film was a man called Jack Carter. Ian Hendry as Eric Paice. Hendry had previously been cast by producer Klinger in Roman Polanski's Repulsion, and was Hodges's first choice to play Carter, but by 1970 his career was rapidly declining. Hendry's alcoholism and poor physical condition were apparent on set in Newcastle, and his envy at the success of his contemporary Caine was exacerbated by his drinking. Hodges was concerned that the character's physical exertion at the film's climax may have been too much for Hendry, and so he arranged for it to be the first sequence shot as a precaution, so that he would not have to re-shoot the rest of the film if it were necessary to replace Hendry. Hodges and Caine used his animosity towards Caine to their advantage to create extra tension in the scenes between Carter and Paice. John Osborne as Cyril Kinnear, Jack's main adversary. Osborne, a famous playwright, was an unusual choice of actor; he was suggested by Hodges's agent. The writer enjoyed the change, and saw it as a way to erase the image in the public's mind of him as an angry young man. Osborne had never played card games before and practised poker before the shoot to lend realism to the gambling scene. Osborne's portrayal was a contrast to the description in Ted Lewis's novel Jack's Return Home of Kinnear as an uncultured, corpulent spiv, giving him an urbane and relaxed demeanour, his delivery being so relaxed and quiet that it was difficult for the sound recordist to pick up, but Hodges liked the "menace in that quietness". Britt Ekland as Anna. Ekland was cast as the leading lady of the film, as she was a prominent sex symbol of the time and would have already been familiar to US audiences through her work in The Night They Raided Minsky's and Stiletto. Accordingly, her minor role in the film was overemphasised in the publicity. Ekland was afraid of becoming typecast, having already played two gangster's molls before Carter in Stiletto and Machine Gun McCain. She was also reluctant to take the part as she did not want to take her clothes off; however, she had financial problems at the time as a result of bad investment decisions by her accountant. She was later happy that she had been involved with the project. Bryan Mosley as Cliff Brumby. MGM executives initially wanted Telly Savalas for the part of the "big man", but were impressed by Coronation Street actor Mosley's performance in fight scenes in Far from The Madding Crowd. A devout Roman Catholic, Mosley was concerned about taking part in such a violent film with depictions of criminal behaviour, and consulted his priest over the moral implications. George Sewell as Con McCarty. Sewell was the man who introduced Barbara Windsor to Charlie Kray. He grew up in working-class Hoxton and had come to acting late when, in 1959, he joined Joan Littlewood's Theatre Workshop. A well-known face on British television in the 1960s, his sandblasted features and shifty, haunted looks made him ideal for playing villainous characters or hard-bitten detectives. He seemed ideally cast as a London gangster colleague of Carter's. After Carter, Sewell became more known for playing policemen rather than villains. Tony Beckley as Peter the Dutchman. Lewis depicted Peter as a misogynistic homosexual in his novel; these elements were not emphasised in the film, although the character is flamboyant and camp. Beckley had developed a specialism of playing sadistic criminals, so his part in Carter was somewhat similar to his role of "Camp Freddy" alongside Caine in The Italian Job. Glynn Edwards as Albert Swift. Like Sewell, Edwards was an apprentice of Joan Littlewood's Theatre Workshop who had come to acting in his 30s. He had previously appeared alongside Caine in Zulu and The Ipcress File. After the film Edwards found work as a character actor and appeared regularly in the TV show Minder. Alun Armstrong as Keith Lacey. This was Armstrong's screen debut. The themes of Get Carter echo to a certain extent those of Armstrong's better-known role 25 years later in BBC drama Our Friends in the North. He wrote a letter to MGM when he learned it was making the film in Newcastle, and he was invited to meet director Mike Hodges, who wanted to cast local actors. Bernard Hepton as Thorpe. Bradford-born Hepton was cast by Hodges as Kinnear's nervous messenger. Petra Markham as Doreen Carter. Petra Markham was a 24-year-old experienced theatre actress when she was asked to play the role of Carter's 16-year-old niece. Her appearance in only four scenes in the film meant she could balance the film work with appearing at the Royal Court and her role in the television series Albert and Victoria. She went on to play the unfortunate Rose Chapman in EastEnders. Geraldine Moffat as Glenda. Moffatt was an experienced actress who had trained at the Bristol Old Vic Theatre School. She attracted Hodges's attention not just for her good looks but for her work on Alun Owen's television plays Stella and Doreen. Dorothy White as Margaret. White had a successful career as a television actress and was particularly well known for Z-Cars, but the part of Margaret was her first credited cinematic role (the only other being a part in the 1955 film Touch & Go). She had previously worked with Mike Hodges on the television play Suspect. Rosemarie Dunham as Edna Garfoot, Carter's landlady. Although she had appeared in The Avengers and A Family at War on television, this was Scottish-born Dunham's film debut. John Bindon as Sid Fletcher. He was the son of a London cab driver who was discovered by Ken Loach in a pub. As a young man Bindon had been in and out of borstal, and spent most of his adult life associating with criminals, so he was ideally suited to play a gangland boss, despite being young, having intimate knowledge of that world. In the late 1970s his career suffered as he became entangled in accusations of protection racketeering in Fulham and was acquitted of murder at the Old Bailey. Terence Rigby as Gerald Fletcher, one of the London crime boss brothers. Rigby was another actor Hodges cast from his familiarity in television police drama.

Mike Hodges recruited a band of experienced character actors to play the small supporting roles. Godfrey Quigley was cast as Eddie Appleyard, a colleague of Frank Carter's. Kevin Brennan appears as Harry the card-player. Ben Aris, who plays one of the architects, had previously appeared in such films as if...., The Charge of the Light Brigade and Hamlet.

Carl Howard's character of the assassin, "J", is only identified by the initial on his ring, in his only film role, and an appropriate mystery surrounds his real identity. His name does not appear on the credits of some prints. 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. 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. If you look closely, the assassin also appears briefly in the same train compartment as Jack approaches Newcastle. When the film credits were printed in the Radio Times and TV Times, Howard was also trimmed. Hodges said in 2002 that "Carl and credits don't seem destined for each other".

There was pressure from MGM to have more big-name American stars in the film, which was successfully resisted by Hodges. 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 is likely a reference to Barbara Parkins. The production also utilised a large number of extras, most of whom were locals who just happened to be on scene when filming was happening. Others were sourced from local casting company Beverley Artistes, which sent everyone registered with it for auditions, one of these being Denea Wilde, who was cast as the pub singer. Several of the company's actors were also in background shots in the film including the casino, streets, bars and the police raid scene.

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Newcastle-born gangster Jack Carter has lived in London for years in the employ of organised crime bosses Gerald and Sid Fletcher. Jack is having an affair with Gerald's girlfriend Anna and plans to escape with her to South America. Before he can, he must return to Newcastle and Gateshead to attend the funeral of his brother, Frank, who died in a purported drink-driving accident. Jack's bosses warn him not to stir up trouble, as they are friendly with the Newcastle mob. Unsatisfied with the official explanation, Jack investigates for himself. At the funeral, Jack meets his teenage niece Doreen and Frank's evasive mistress, Margaret.

Jack goes to Newcastle Racecourse, seeking his old acquaintance Albert Swift for information about his brother's death, but Swift evades him. Jack encounters another old associate, Eric Paice, who refuses to tell Jack who is employing him as a chauffeur. Tailing Eric leads Jack to the country house of crime boss Cyril Kinnear. Jack confronts Kinnear but learns little from him; he also meets a glamorous drunken woman, Glenda. As Jack leaves, Eric warns him against damaging relations between Kinnear and the Fletchers. Back in Newcastle, 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. He is told the name "Brumby."

Jack knows Cliff Brumby as a businessman with controlling interests in local seaside amusement arcades. Visiting his house, Jack discovers Brumby knows nothing about him and, believing he has been set up, he leaves. The next morning, two of Jack's London colleagues – Con McCarthy and Peter the Dutchman – arrive, sent by the Fletchers to take him back, but he escapes. Jack meets Margaret to talk about Frank, but the Fletchers' men are waiting and pursue him. He is rescued by Glenda, who takes him in her Sunbeam Alpine sports car to meet Brumby at his new restaurant development at the top of a multi-storey car park. Brumby identifies Kinnear as being behind Frank's death, also explaining that Kinnear is trying to take over Brumby's business. He offers Jack £5,000 to kill the crime boss, which he refuses.

Jack has sex with Glenda at her flat, where he finds and watches a pornographic film called "Teacher's Pet," in which Doreen is forced to have sex with Albert. The other participants in the film are Glenda and Margaret. Jack becomes enraged and pushes Glenda's head underwater as she is taking a bath. She tells him the film was Kinnear's and that she thinks Doreen was pulled into the production by Eric. Forcing Glenda into the boot of her own car, Jack drives off to find Albert.

Jack tracks down Albert, who confesses he told Brumby that Doreen was Frank's daughter. Brumby showed Frank the film to incite him to call the police on Kinnear, so Eric and two of his men arranged Frank's death. Having extracted this information, Jack fatally stabs Albert. Jack is attacked by the London gangsters and Eric, who has informed Fletcher of Jack and Anna's affair. In the ensuing shootout, Jack kills Peter. As Eric and Con escape, they push the sports car into the river, unaware that Glenda is in the boot. Returning to the car park, Jack finds and beats Brumby before throwing him to his death. He then posts the film to the Scotland Yard vice squad.

Jack abducts Margaret. He telephones Kinnear (who is in the middle of a wild party at his home), telling him that he has the film, and makes a deal for Kinnear to give him Eric in exchange for his silence. Kinnear agrees, sending Eric to an agreed location; however, he subsequently phones an associate. Jack drives Margaret to the grounds of Kinnear's estate, kills her with a fatal injection and leaves her body there. He then calls the police to raid Kinnear's party and the police arrest Kinnear for Margaret's murder.

Jack chases Eric along a desolate beach. He forces Eric to drink a bottle of whisky as Eric had done to Frank, and beats him to death with his shotgun, disposing of the body on a coal conveyor. Having avenged Frank and Doreen, Jack walks along the shoreline, where he is shot dead from a distance by Kinnear's associate.

On Rotten Tomatoes, the film has an approval rating of 85% based on 40 reviews, with an average rating of 7.50/10; the site's critical consensus reads "Darkly entertaining and tightly wound, Get Carter is a gritty revenge story done right". Metacritic, which uses a weighted average, assigned the film a score of 80 out of 100, based on 15 critics, indicating "generally favorable" reviews. 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). He also noticed a substantial increase in women voting on the film in the eight months leading up to April 2002.

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. Get Carter had to make do with ambivalence". He thought the general stance of British critics "was to admire the film's power and professionalism while condemning its amorality and excessive violence". Geoff Mayer observed that "Mainstream critics at the time were dismayed by the film's complex plotting and Carter's lack of remorse". In Sight and Sound, Tom Milne said the film was well-constructed and had good characterisation, but lacked the mystery and charisma of the earlier American crime films it attempted to emulate. He found Carter's motivations were inconsistent, either being an avenging angel or an "authentic post-permissive anti-hero, revelling in the casual sadism".

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". Richard Weaver in Films and Filming praised the realism of the film, describing it as "crime at its most blatant", while George Melly writing in The Observer confessed to vicarious enjoyment of it, but admitted it was "like a bottle of neat gin swallowed before breakfast. It's intoxicating all right, but it'll do you no good".

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", Pauline Kael admiring its "calculated soullessness" and wondering if it signalled a "new genre of virtuoso viciousness". US publication Box Office gave a cautiously approving review, describing the film as "nasty, violent and sexy all at once". It predicted that "It should please in the action market, but won't win any laurels for Caine although his portrayal of the vicious anti-hero impresses". The reviewer also opined that "Tighter editing would help considerably". Roger Ebert was less reserved in his praise, writing that "the movie has a sure touch". He noted the "proletarian detail" of the film which is "unusual in a British detective movie. Usually we get all flash and no humanity, lots of fancy camera tricks but no feel for the criminal strata of society". Of Caine's performance he wrote, "The character created by Caine is particularly interesting. He's tough and ruthless, but very quiet and charged with a terrible irony". Judith Crist in New York magazine gave a glowing review, saying "Michael Caine is superb, suave and sexy" and describing the film as "a hard, mean and satisfying zinger of the old tough-tec school done in frank contemporary terms". Variety also praised the film, saying it "not only maintains interest but conveys with rare artistry, restraint and clarity the many brutal, sordid and gamy plot turns". However, Jay Cocks writing in Time was disparaging, calling the film "a doggedly nasty piece of business" and comparing it unfavourably to Point Blank. The film appeared on several US critics' lists of best films of the year.

In Michael Klinger's The Guardian obituary in 1989, Derek Malcolm remembered the film as "one of the most formidable British thrillers of its time".

Get Carter is a 1971 British gangster thriller film, written and directed by Mike Hodges in his directorial debut and starring Michael Caine, Ian Hendry, John Osborne, Britt Ekland and Bryan Mosley. Based on Ted Lewis's 1970 novel Jack's Return Home, the film follows Jack Carter (Caine), a London gangster who returns to his hometown in North East England after his brother's death. Suspecting foul play, and with vengeance on his mind, he investigates and interrogates, regaining a feel for the city and its hardened-criminal element.

Get Carter (1971)

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