Réalisation:
Mike HodgesScénario:
Mike HodgesMusique:
Roy BuddActeurs·trices:
Michael Caine, Ian Hendry, Britt Ekland, Tony Beckley, Alun Armstrong, John Bindon, John Osborne, Terence Rigby, Petra Markham, Rosemarie Dunham (plus)VOD (3)
Résumés(1)
Jack Carter, gangster londonien qui tue de sang-froid, se rend dans sa ville natale de Newcastle pour l’enterrement de son frère. Très vite, il est persuadé que celui-ci a été assassiné, contrairement à ce qu’a établi la police. Alors qu’il démarre sa propre enquête, les pontes de la pègre locale le trouvent gênant. (LaCinetek)
Critiques (4)
Mike Hodges' film is interesting. An atypically shot and realistic gangster film, with the support of the star Michael Caine, should have the potential to become a cult film, thanks to its bloody revenge story. However, it is emotionally cold and distant in its execution, reminiscent of Michael Haneke's later work, and that may be why some people use the term "boring" in their reviews. At the same time, I am somewhat bothered by unfinished or improbable details, such as the gun our anti-hero takes to the busy city to carry out his revenge. Parading around with it in broad daylight on busy streets is not exactly logical, although you could say it's effective. An American remake was made based on the motifs of this classic British film, with Sylvester Stallone in the lead role, but it didn't come close to the qualities of its original for understandable reasons. Today's fans of popcorn movies may be put off by the somewhat unusual editing and longer scenes, but for me, it gains in attractiveness as a film that stands out from the crowd. Overall impression: 65%.
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SPOILER. Que c'est lent ! La lenteur ne serait pas un problème si le film n’était pas ennuyeux. Peut-être étais-je trop fatigué en le regardant, mais il m'a semblé que Carter passait la première moitié du film à faire le tour des gens qui pourraient savoir quelque chose ou être impliqués dans la mort de son frère. Puis, dans la seconde moitié, on découvre que tout le monde est impliqué de facto, alors il se venge progressivement, avec acharnement et sans distinction, abattant hommes et femmes jusqu'à atteindre la satisfaction de s’être débarrassé de tous les pécheurs, pour ensuite se faire abattre lui-même. C’est niais, plat, l’action n’en est pas, la grivoiserie n’en est pas, le côté dramatique ne l’est pas… Dans un but analytique, je vais me passer le remake raté avec Stallone ; il se pourrait qu’il me surprenne et me divertisse plus que celui-ci. Et une note légèrement positive pour la fin : certaines scènes m’ont fait rire – celles que je trouvais excessivement absurdes.
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After another viewing, I'm raising it to full stars. For all those who, like me, were bothered by the slow pace of Get Carter the first time around, I recommend watching the film again... The gradual piecing together of all the pieces, the way we slowly and surely learn what actually happened to Carter's brother, and especially Cain's gradual "roughening" has a certain charm that you miss if you watch the film expecting action. The atmosphere thickens and thickens and after half an hour the film picks up speed and rushes like a runaway train to the final station, which is... the final stop. At the end, Carter will be relieved, and so will we. And by the time the credits roll, we'll have a lot to think about for a long time thanks to this bastard, who's actually quite likable even when he's killing people.
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The Stallone remake really can't be compared with this movie. It's much more raw, much more realistic, and much more abstract at the same time, which is strange at first sight. But the UK suits it much better. Contemporary British filmmakers trying to make a modern action thriller should learn from this film.
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