Get Carter

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Price: $478.61   

Get Carter Review

This film is a standout example of the way they made action films back in the 70's: hard, grim, and without an ounce of mercy. To exemplify the difference between a 70's action film and one made currently, it would do to contrast this film with the 2000 remake with Sylvester Stallone in the title role. In the 2000 film, a touch of pleasant humor and romance are thrown in, and it is clear that Carter (Stallone), despite the fact that he makes his living as an enforcer/gangster, is basically a nice guy; someone it is very important for us to like and identify with. He ends up being the savior of all those he loves and cares for. He is a mush, is what he is. An anti-hero without any true anti.

Michael Caine dominates the original 1971 film Get Carter. He has the coldest eyes you will ever see on screen, and he has a heart made of Birmingham steel. Briefly told, the plot is one of revenge. Carter is a London gangster traveling north to the gritty, working class town of Newcastle to find out what happened to his brother, dead under strange circumstances.

Caine/Carter isn't really very cunning or smart. What makes him so dangerous is that he acts very quickly, almost instinctively like a huge cat on the hunt. A burning red engine, stoked to bursting with hate, drives Carter and keeps him alive in this world of wolves and sheep. No actor can portray pure hatred like Michael Caine, and the teeth-barring moments when Jack Carter is moved to violence are truly scary. Once Carter begins to unravel the truth, he becomes a force without pity. Where Stallone can't help but wish to be liked, Caine is about as repulsive a protagonist as the screen has yet shown us. If we find ourselves rooting for him (and we do), it is because the movie has tapped into our own dark side. Nothing "life affirming" here. His vengeance is not done with splashy special effects or done artfully like Peckinpah's mannered "ballet of death" scenes. No, here the punishment is metered out like grim factory work, done under an ashy, wet sky.

This film is a vision into a mist-soaked hell, where rain falls instead of fire, absent of angels. It is also a masterpiece and not to be missed. -Mykal Banta

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