Getting Carter: Ted Lewis and the Birth of Brit Noir

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Overall Thoughts: This is truly excellent, an undeniable classic and one of Caine’s finest performances. It’s a uniquely British gangster movie, that was rightly voted the greatest British film of all time in 2004 by Total Film Magazine, and its influence is still felt to this day in the work of filmmakers such as Guy Ritchie, Matthew Vaughn and even Quentin Tarantino. A must watch for fans of Caine and for fans of cinema. Walker/Wallsend – Hebburn Ferry". Bridges on the Tyne. Bridges on the Tyne 2006. Archived from the original on 23 March 2012 . Retrieved 20 March 2012. The Chronicle reported: "The film has been showing in America for some weeks and is doing good business.

a b Cox, Tom (28 May 1999). "Get Hodges". The Guardian. Archived from the original on 30 April 2014 . Retrieved 21 February 2012. 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. [16] 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. [17]It was a unique time when he was certainly around proper gangsters and villains. There was one club in particular called Gerry’s, which was a regular and the French House too. They were all classic Soho hang-outs of the 1960s. Caine, as in the majority of his signature roles, is superbly armed with a set of eminently quotable one-liners ("You're a big man, but you're out of shape" tops the bill this time), and as emotionally detached and violently ruthless as Point Blank's similarly vengeful Lee Marvin, while director Hodges paints a gritty, bleak picture of the gangster underworld. 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". [102] Box office [ edit ]

Cairns, David. "An interview with Mike Hodges, April 10, 2010". Britmovie.com. britmovie.co.uk. Archived from the original on 22 July 2012 . Retrieved 9 March 2012. Hanson, Wesley T. Jr. (March 1952). "Color Negative and Color Positive Film for Motion Picture Use". Journal of the SMPTE. 58 (3): 223–238. doi: 10.5594/J05041. NT: There were rumours a long while ago that it had been optioned for a film, but whether that’s the case now I couldn’t really tell you. It would make a fantastic film and it’s a crying shame its not in print in this country now. Pomerance, Murray (2009). Rolando, Caputo (ed.). "Notes on Some Limits of Technicolor: The Antonioni Case". Senses of Cinema. Australia: Senses of Cinema Inc (53). Archived from the original on 25 March 2012 . Retrieved 16 March 2012. Bennett, Ray (9 September 2004). "Dead Man's Shoes at the Venice International Film Festival". Hollywood Reporter.He’d played crooks before, most notably Charlie Croker in The Italian Job and his bumbling cat burglar in Gambit, but they had been mostly lovable, and effectively harmless, cheeky chappies. In his previously released film, The Last Valley, he’d played a morally complex villain/anti-hero prone to violence but there was something restrained and unknowable about his character which left you unsure exactly to what extent he was truly the bad guy. BFI’s notes on their restoration state it is primarily sourced from the 35mm original negative, but portions had been replaced with sections of the duplicating negative, more than likely due to damage. For these portions BFI were able to source the yellow, cyan and magenta protection Promaster elements, made from the original negative. BFI also notes that the film’s “final look”—which I assume includes colour grading—was based on previous restorations/releases from 1971, 1999 and 2014. Mike Hodges in Conversation (2022, 60 mins): the director discusses his career in this interview recorded at BFI Southbank Spicer, Andrew. "The Creative Producer – The Michael Klinger Papers". Andrew Spicer, University of the West of England: The Creative Producer – The Michael Klinger Papers; • Paper Given at the University of Stirling Conference, Archives and Auteurs – Filmmakers and their Archives, 2–4 September 2009. uwe. Archived from the original on 24 February 2012 . Retrieved 20 February 2012. NT: I would say GBH stands up to any British crime novel ever written. It’s a brilliant book. According to people I spoke to, they were surprised Ted Lewis was able to write at all though through his alcoholism.

Starring: Michael Caine, Ian Hendry, Britt Ekland, John Osborne, Geraldine Moffat, Dorothy White, Bryan Mosley, Alun Armstrong, Petra Markham The film is now more than half a century old, and yet it continues to win fans with each new generation – and the latest are bound to be enthralled by a 4K and Blu-ray release from the BFI. Director Mike Hodges says the quality is fantastic – and he’s absolutely right. In fact, the film probably looks better now than it did on its big screen release in 1971. Murphy, Robert; Steve Chibnall (1999). British Crime Cinema (British Popular Cinema). UK: Routledge. p.128. ISBN 978-0-415-16870-0. NT: Yes, Paul Oliver of Soho Print in New York is a big Ted Lewis fan and republished some of Ted’s novels a few years ago. So, you can buy them online from the States. The bulk of the action was filmed in the North East during 1970 and there was much press interest in the presence of 36-year-old Michael Caine, the big-name star of such movie hits as Zulu (1964), Alfie (1966), and The Italian Job (1969).

a b c Williams, Tony (2006). "Great Directors: Mike Hodges". Senses of Cinema (40). Archived from the original on 11 March 2012 . Retrieved 11 March 2012. When the film opened to the public at the Haymarket that week, it carried an 'X' certificate and was screened four times each day.

Douglas Keesey: Neo-Noir: Contemporary Film Noir From Chinatown to The Dark Knight Kamera Books, 2010, ISBN 978-1-84243-311-9 NT: He was certainly a pioneer and his work broke new ground and I think he’s certainly overlooked, a real forgotten talent. His ability to create that fusion between American traditions and British social realist narratives was unique, and his use of real people and real places is second to none.

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Monahan, William (11 November 2011). "Top 5 British Crime and Suspense Films from the '60s and '70s". Slate. Archived from the original on 18 March 2012 . Retrieved 16 March 2012.