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Mike Hodges, who made his feature debut by writing and directing the seminal British gangster film Get Carter, starring Michael Caine, then replaced Nicolas Roeg to helm the cult sci-fi hit Flash Gordon, has died. He was 90.
Hodges died Saturday of heart failure at his home in Dorset, England, confirmed his friend Mike Kaplan, who produced Hodges’ 2003 film I’ll Sleep When I’m Dead.
The British filmmaker also wrote and directed Pulp (1972) in a quick follow-up with Caine; the bleak The Terminal Man (1974), an adaptation of a Michael Crichton novel that starred George Segal; Damien: Omen II (1978), though he was fired three weeks into the shoot and replaced by Don Taylor; and Black Rainbow (1989), starring Rosanna Arquette as a medium.
In addition, Hodges helmed the Mickey Rourke-starring Ira thriller A Prayer for the Dying (1987), which he said was re-edited without his...
Mike Hodges, who made his feature debut by writing and directing the seminal British gangster film Get Carter, starring Michael Caine, then replaced Nicolas Roeg to helm the cult sci-fi hit Flash Gordon, has died. He was 90.
Hodges died Saturday of heart failure at his home in Dorset, England, confirmed his friend Mike Kaplan, who produced Hodges’ 2003 film I’ll Sleep When I’m Dead.
The British filmmaker also wrote and directed Pulp (1972) in a quick follow-up with Caine; the bleak The Terminal Man (1974), an adaptation of a Michael Crichton novel that starred George Segal; Damien: Omen II (1978), though he was fired three weeks into the shoot and replaced by Don Taylor; and Black Rainbow (1989), starring Rosanna Arquette as a medium.
In addition, Hodges helmed the Mickey Rourke-starring Ira thriller A Prayer for the Dying (1987), which he said was re-edited without his...
- 12/20/2022
- by Mike Barnes
- The Hollywood Reporter - Movie News
Get Carter is among the films chosen by Ian Rankin Get Carter, 9pm, ITV4, Monday, July 25
The grimy world of gangsters is to the fore in Mike Hodges' feature debut, the tale of a man on a mission of vengeance in Newcastle. Michael Caine feels as sharp and raw as a jagged knife edge in the role of enforcer Jack Carter, who is determined to get to the bottom of his brother's death. Unashamedly brutal in its approach to violence - including the memorable dispatching of Corrie regular Bryan Mosley - matched with snappy dialogue and Caine's dry delivery, this is gangland with all the grit that offers a time capsule of a Seventies underworld long paved over.
Snoopy and Charlie Brown: the Peanuts Movie, 11am, Film4, Tuesday, July 26
Charlie Brown gets dusted off for a new generation of kids, although thankfully retains a lot of his comic strip...
The grimy world of gangsters is to the fore in Mike Hodges' feature debut, the tale of a man on a mission of vengeance in Newcastle. Michael Caine feels as sharp and raw as a jagged knife edge in the role of enforcer Jack Carter, who is determined to get to the bottom of his brother's death. Unashamedly brutal in its approach to violence - including the memorable dispatching of Corrie regular Bryan Mosley - matched with snappy dialogue and Caine's dry delivery, this is gangland with all the grit that offers a time capsule of a Seventies underworld long paved over.
Snoopy and Charlie Brown: the Peanuts Movie, 11am, Film4, Tuesday, July 26
Charlie Brown gets dusted off for a new generation of kids, although thankfully retains a lot of his comic strip...
- 7/25/2022
- by Amber Wilkinson
- eyeforfilm.co.uk
Cool, coordinated, just a little loud; this is the timeless appeal of Jack Carter’s 3 piece suit. In portraying cinema’s ultimate anti-hero, Michael Caine wears his costume like a second skin.
Get Carter was shot mainly on location in Newcastle for just £750,000. By no means a tremendous success on its release (in the U.S. Get Carter was a double feature with a Frank Sinatra movie), it has since acquired cult status and is now widely recognised as one of the greatest British films ever made. Much has been written about the ‘style’ of Carter; photo shoots of models in trench coats carrying shotguns, etc, yet there has been little appreciation for the fine detail of its central costume itself, a dark blue mohair suit, and what it says about the man who wears it so triumphantly.
Director of Get Carter, John Hodges, admits he personally paid little attention to costume.
Get Carter was shot mainly on location in Newcastle for just £750,000. By no means a tremendous success on its release (in the U.S. Get Carter was a double feature with a Frank Sinatra movie), it has since acquired cult status and is now widely recognised as one of the greatest British films ever made. Much has been written about the ‘style’ of Carter; photo shoots of models in trench coats carrying shotguns, etc, yet there has been little appreciation for the fine detail of its central costume itself, a dark blue mohair suit, and what it says about the man who wears it so triumphantly.
Director of Get Carter, John Hodges, admits he personally paid little attention to costume.
- 7/22/2011
- by Chris Laverty
- Clothes on Film
Mike Hodges, 1971
At 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...
At 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...
- 10/17/2010
- by Michael Hann
- The Guardian - Film News
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