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on 3 May 2014
Well after years of waiting,warners have screwed the release of this classic film by only having the dubbed us soundtrack and not the original british soundtrack
its poorly dubbed and ruins the whole opening scene.
even the commentary by director mike hodges-ported over from the dvd release has him saying he doesnt like the dubbed version..
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on 3 May 2014
Get Carter is a terrific film but this release is disappointing.
There were two versions of the film, due to the thick accents some scenes were overdubbed for the US audience - fair enough?
Unfortunately the lazy people at Warners has decided to release the dubbed version in the UK too.
To compound the issue this dubbed version is derided in the commentary on the extras!
Having waited so long for this release the outcome is spoils the film for me.
Hopefully Warners will reconsider this release and at the very least give the option of selecting the original soundtrack.
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on 3 May 2014
As others have posted, the blu-ray is a port of the US version which has dodgy dubbed audio early on, not the original dialogue. If you have a serious interest in film and preserving such classics as the director originally intended, do not buy this. Sort it out Warner, issue a corrected disc with the original audio track!
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on 8 May 2014
Warner released it in both the U.S and UK with the stupid, annoying dubbing on the opening scene last month (April). Being one of many complainants to Warner UK (London) office, I've just had an e-mail from them saying they are re-releasing it corrected in mid June 2014. They also sent me a pre-paid envelope & I just returned my awful blu-ray to them & they will then send me the new, correct edition with the ORIGINAL AUDIO! In the meantime, any copies being sold here or anywhere else in the UK are the bad ones and should not be online for sale! Wait until the correct edition is available from Warner in mid June, about 2 weeks' time!
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on 9 July 2011
When I first saw this film, it was before colour TV was widely available in Britain. The black and white version was like film noir; grainy, atmospheric and menacing. I watched it again this week, in colour. To my mind, it is not as effective. However, what is effective is the acting of Michael Caine. He plays a hardened London hit-man who returns to Newcastle in the (then 1960s - heavy industrialised) north-east of England. The story is about his search for his brother's killer. The thing about this film is that there is no glamour in the violence. It feels real; the quick punch to the stomach and ribs, with the collapse of the recipient of such blows. The Stallone re-make of this film is a travesty of the original. There's even a phone-sex interlude, before mobile phones existed! If you like raw realism and seeing a less-fashionable part of Britain in the 1960s (at a time when the `Liverpool Sound' was taking over the world, and when Newcastle offered its own contributions, such as The Animals), then this is a collector's item.

Ian Hunter.
Author of The Early Years
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Among English movies, 1971's "Get Carter" is always cited as near the top noir/gangster/crime movies ever made. It was based on Ted Lewis's ferocious book Jack's Return Home, which I understand was based on a true crime; was adapted for the screen and directed by the British Mike Hodges, who's got a gift for this kind of thing. The British best people the cast: Michael Caine in his prime, as Carter; backed by Terence Rigby, George Sewell, Bernard Hepton, Alun Armstrong, and Ian Hendry. Britt Ekland (Mrs. Peter Sellers to you) played the love interest. And well-known English playwright John Osborne plays Kinnear, an important supporting role.

The movie opens as Carter, enforcer/hit man for a London mob, who's carrying on with his boss's girlfriend (Ekland) learns his brother has died back home in Newcastle in circumstances Carter deems suspicious. Against the wishes of his boss (Rigby), he decides to head north to investigate. He travels upcountry on a very smoky train reading the American hard-boiled author Raymond Chandler's "Farewell My Lovely" as he goes. Once home, nothing and no one will dissuade him from finding the truth -- fast and furiously -- and then taking a very bloody revenge on all concerned.

"Get Carter" packs a lot in its less than two-hour length. It preserves, more accurately than any other movie known to me, a snapshot of the sour swinging England of the 70's. And it makes inspired use of the aging industrial city Newcastle. The rusted chimneys against the sky, the graffiti, the miles of streets lined with traditional 2-up, 2-down cottages, the tear-down-candidate pubs and betting parlors with primitive toilets out back. Add the constant overcast sky/rain; the grey menacing northern sea. The little touches are also important: a knitted purple tea cosy, and a chamber pot under the bed at the boarding house where Carter stays. The clumsy provincial kids at a dance hall. And then there's the just right jazz score.

But it's Caine's movie, of course, and the theory goes that gangster pictures depend totally on the power and energy of their stars: consider James Cagney, Edward G. Robinson, George Raft. Caine almost shoots sparks as a sexual predator in his phone sex scene: he achieves a double seduction; Ekland on the phone, his landlady in the room with him. His feral smile at a pub cat fight, and at the end of the picture, as he moves to avenge his brother's death, is bone-chilling. Yet he's able to cry at an important-to-the-plot porn movie.

As an actor, Caine, who was born a London cockney, has played gangsters as coldly menacing as they come, and maybe we're lucky he's strictly an actor. One of the smaller gangster roles here, Sid Fletcher, is played by a man called John Bindon, who was, in fact, a London gangster. British director Ken Loach first used Bindon to play a London villain in his now little-seen Poor Cow [DVD] [1967]. Bindon went on to work in a number of movies and TV shows, always playing a villain. One way or another, great gangster film. See it if you can.
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on 9 May 2012
Easily the best British gangster movie i've seen, only "The Long Good Friday" can compare.
Everything is grim in Jack Carter's home town, the swinging sixties have passed it by...Carter returns from London to avenge the death of his brother and sweeps through town like a one-man killing machine; anyone who gets in his way is ruthlessly despatched.
The film abounds with memorable, iconic scenes: the train journey to Newcastle (featuring a class 55 Deltic); dumping the future Alf Roberts off a multi-storey onto a passing car; the look on Carter's face as he sees his brother's child (or is it his own?) in a sick porn movie; the viscious demise of Albert Swift (Glyn Edwards) and the sudden, brutal ending. Caine, 37 at the time, has never been better.
Everything about "Get Carter" is top notch, especially the cast (John Osbourne, Ian Hendry, Alun Armstrong), the location work, and a fantastically cool theme tune. Like all great movies it never appears dated, and i never tire of watching it.
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on 5 May 2014
For those who don't know...
Newcastle 1970.London hard man Jack Carter(a career best turn from Michael Caine)returns to the place of his birth to bury his brother Frank and find out who killed him even though everyone,including his own bosses, are determined to put Frank's death under the category of unfortunate accident.Jack declines all offers and entreaties to turn the other cheek and quickly a veritable sewer of human depravity spews forth with Jack in clean up mode.

Superbly mean and pretty sleazy it has to be said,Get Carter benefits from Roy Budd's masterful main theme, a vivid sense of time and place and Caine's wonderful performance as possibly the ultimate anti- hero of British Cinema.

Now to the blu ray.
If you already have this film in stan def,do not waste your money on the blu.The difference in picture quality is neglible and the audio is very so-so.
This release certainly plays into the hands of The Blu Ray as Con Brigade as patently no restoration work of any obvious description has been undertaken here for whatever reason.Reviewers have mentioned that this is the dubbed U S version which,while not really being the end of the world,is certainly very lazy on Warners part Surely the original british soundtrack for a british audience would not be too much to ask for.What I think is far worse are the embarassing lack of extras. No retrospective doc,interviews with either Caine or Mike Hodges etc. This release is so vanilla that it can only be taken as an insult to the many who have waited for a long time for a high def release of this film only to find their expectations not catered for in the slightest.

A travesty and Warners should be ashamed.
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on 13 November 2002
GET CARTER is probably Mike Hodges' masterpiece. It is certainly Britain's gangster-film masterpiece ... complete with unacceptable-in-America ending. THE LONG GOOD FRIDAY and LOCK, STOCK & TWO SMOKING BARRELS may arguably come close to emulating GET CARTER's success and cult status, but do not equal it. Cinematographer Wolfgang Suschitzky could have shot the film in black & white with no discernable change of mood or visual nuances: it is set amidst the bleak, industrial decay of early-70s Newcastle-upon-Tyne. The closing slag-heap scenes are in daylight, but the overcast, lowering sky drowns out all colour. Even the signature-tune is plaintively minimalist.

The plot features nasty villains, principal among whom is 'the hero,' surly London gangland racketeer and troubleshooter Jack Carter (Michael Caine at his most impassively impressive, in perhaps his best-ever rôle) who is only slightly more self-righteous than the Geordie 'rural Mafia' he out-villains whilst unravelling the complex web of cover-ups, bribes, double-crosses and sudden violence to determine which villain(s) in particular he will wreak 'orrific vengeance upon for A] them wot done 'is bruvver in, and also later on B] for involving his niece in a blue-film racket. On the train 'oop north' Carter reads Raymond Chandler's FAREWELL, MY LOVELY, but he lacks entirely any of Philip Marlowe's scruples and morals. Carter screws the bird but doesn't bat an eyelid when the car - with her in the boot - is pushed into the river, nor does he flinch a facial muscle when discovering that his sole ally (Alun Armstrong) has been brutally given the once-over.

Today's porn industry enjoys a semi-glossy veneer of stylishness with most of the porn 'stars' being in control of their careers, but back in the heady days of the early-1970s 'blue movies' were exploitationist, gritty, sleazy and dirty, complete with poor-quality film and the absence of sound. GET CARTER's ending is unexpected (the only similarly-unexpected ending I can think of is Sergio Corbucci's IL GRANDE SILENZIO [1969]), and yet fitting for the film's ongoing theme of bleakness and pessimism. Including the final fade-out.

The film features neat cameos by Ian Hendry (as Eric Paice, the scheming chauffeur with the I-am-a-baddy shades) and noted playwright John Osborne (as the menacing Cyril Kinnear). Memorable is Carter's somewhat unpleasant 'seduction-to-telephone' of moll Britt Ekland back in London whilst observing his Newcastle landlady rocking in her chair barely containing her surging hormones ... until Ekland's oafish 'owner' enters the room and cannot imagine what she is doing unclad, "You got gut-ache or something ...?"

Steven Soderbergh's "requiem for the hard man" THE LIMEY (1999) may look like a 1990s version of GET CARTER: just released from Her Majesty's pleasure, well-'ard Terence Stamp goes out to Los Angeles to find out why and by who's hand his daughter was done-in. The Chandleresque dialogue includes a high London slang content and Stamp knocks the opposition about with machine-gun resonance, but there the similarities end ...

Hollywood made a 'GET CARTER 2000' ... HOW DARE THEY ...!!!
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on 5 September 2006
Get Carter is a 1971 britisg gangster movie that all others must compare too but few can claim to be as stylish,as reflective of the area it is based in at the time,to have such great quotes,to have such a soundtrack and of course be as influential,Get Carter is all that wrapped in a bloody bow.

Michael Caine plays Jack Carter who is a mobster working in london who is from the north of england,newcastle to be precise who heads home to attend his brothers funeral and although his brother is alledged to have died by accident Jack isnt convinced and sets about opening doors to the truth and at whatever cost.

Carters revenge is brutal and swift and in the end must be considered one of the coolest gangsters ever portrayed on the big screen,such is his ability to just do what he does and do it brilliantly is acting at its finest.

The film didnt go down well upon initial release i believe but total film regards it as the greatest british movie in any genre and thats high praise indeed,dont watch the remake with stallone,watch this.
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