Get Carter: No 7 best crime film of all time
Mike Hodges, 1971
Michael Hann
Sunday 17 October 2010 11.49 BST
A
t a distance of nearly 40 years, Get Carter has as much value as a piece of social history as it does as a thriller. The Tyneside it portrays isn't one of hen parties in Bigg Market, but of poverty that grinds Newcastle and its inhabitants into an inescapable and unendurable greyness. At times, too, it seems as if Mike Hodges has thrown his actors into real life – the faces of the old men in the pubs and betting shops, and the revellers at the dancehall take the movie into something akin to cinéma verité, even as mayhem erupts in the foreground.
As a thriller, though, it's colder and more brutal than anything British cinema has produced before or since; its mood so unyielding that the viewer does not even question whether Michael Caine really could be a Geordie hood returning home for his brother's funeral. There's humour, but it's so bleak it causes grimaces more than laughs: when the husband of Carter's lover (played by Britt Ekland) walks in on her having phone sex with Carter, he asks, puzzled: "What's the matter? You got gut trouble or something?" That's entirely fitting with regard to the subject matter, for when Carter investigates his brother's death, he discovers the dead man's daughter has been coerced into porn films by the local crime syndicate, setting Carter off on a trail of vengeance.
At the centre of it all is Caine, playing with such chilly authority that even his most geezerish moments – "You're a big man, but you're in bad shape. With me it's a full time job. Now behave yourself" – retain their threat, when a few years later they might have teetered over into self-parody. He's aided by a top-notch supporting cast, with the playwright John Osborne an unlikely but wholly convincing ganglord, and future Coronation Street mainstay Bryan Mosley as the hapless hanger-on Cliff Brumby, who makes one of British cinema's most notable exits, from the upper stories of the Trinity Square car park in Gateshead.
Watching Get Carter now is like reading accounts of the first westerners to cross the Gobi desert: did this world ever exist, and in such recent times? It seems wholly remote from 21st-century Britain, even as its themes of coerced sex and utter amorality chime with contemporary fears.
THE GUARDIAN
