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London criminal Michael Caine returns to Newcastle for his straight-arrow brother's funeral. The police say he got drunk and killed himself in a driving accident, but little bits don't add up. Caine pokes around Newcastle's dirtier side and becomes convinced it was a murder. But who and why?

It's a thoroughly unlikable movie, from Caine's seething performance through Wolfgang Suchitsky's overcast Technicolor lighting through the apathetic and evil people who inhabit the movie's world. At the same time, this neo-noir take on the Elizabethan Revenge drama is a brilliant exposition on the dark side. There's no one to admire here, no dark humor. The people in charge are not misfits. John Osborne, as a local crook, isn't a man oppressed by his environment, searching for a meaning that isn't there. He's a smart man who has judged his society accurately and coldly applied its rules to his own profit.

Caine's self-loathing rage is likewise efficiently applied. The police won't come and save anyone, they won't avenge anyone, they won't restore order by finding the bad guys. They are almost unseen, a howling car showing up too late, unable to stop or even notice Caine's spree. There is no justice, just revenge, and application of the rule that mad dogs must be put down.

Michael Caine stars in "Get Carter," a 1971 film co-produced by Caine, who was sick of the parts he was getting. Well, the role of Carter is certainly a terrific part. Ian Hendry and John Osborne also star.

Carter, a London gangster, returns to his home town of Newcastle for his brother's funeral. When he is offered a ticket out of town, his suspicion about his brother's death grows stronger. His investigation leads him to a pornography ring and lots of bad guys.

There's lots of violence in this film as Carter dispenses with anyone who's in his way without even blinking. He's mean as they come. Caine is fantastic, and he's surrounded by effective evil-doers.

There's nudity, too, as well as phone sex. If you like this type of gangster movie, you'll love this. Well-directed by Mike Hodges.

I saw this together with "The Silencers." The two were roughly contemporary and both played with notions of cool. There is a sort of symmetry here that I think is intrinsic to cool.

It is a symmetry of misogynism. The idea with Dean Martin's thing is probably more familiar to most viewers through Austin Powers. Martin is basically an ugly thug whose fame was based on fantasies about the rat pack. But we are to believe that women — here as automatons with pink bits — automatically adjust to him as god merely through presence. There are gadgets and settings too, and everything emanates from the being of the man. Cinematically speaking, it is Italian storytelling.

Here in Carter we have something else. Its the same pull on values. The man has charm, enough that every woman in his orbit gets seduced and suffers. But the entire dynamic is different. Its the environment here that is the focus, not the man. Unfortunately, this film has not aged well and we have much, much better examples of cool ground out from a gritty machine.

This guy is a genuine thug. To be cool in this mold you cannot be violent. You have to be an observer, one who understands the workings of the machine that surrounds. Small insights into those workings give great advantage. The cinematic expression of that dynamic is not groundbreaking in this film. But it is there, is gritty in a human way and gives a worthy ending as the machine grinds on, another viewer somewhere having gotten some small advantage.

I have not seen the remake, I think. But it is hard to imagine it working as well. This, by the way, was when Caine was real and true. When he understood this business of what I call folded acting, where he could spend some energy being the character, and some being in the character of an actor playing the guy. Two, simultaneous conversations with us, one with us as a watcher.

Ted's Evaluation -- 3 of 3: Worth watching.

Jack Carter, the reserved London gangster, travels north to Newcastle, his home town, to find the cause of his brother's death. He's warned by his bosses not to go, but refuses to obey them. We, and he, discover the reasons for the warning, which are intertwined with the details of his brother's fate, and watch Carter's quest for revenge reach its logical conclusion. The underworld life sets a kitschy vision of glamour - music-box decanter sets, flashy bespoke suits, and garishly decorated villas - against the grotty reality of arcade slot machines, pornographic 8mm films, and the claustrophobic grubbiness of Newcastle's industrial tenements. Carter, who prides himself on a style of detached shrewdness, navigates both worlds, until he discovers that they're intertwined, sickeningly. The corruption which provides him his living has tainted his own family. I think the centre of the film is the brilliant moment when Carter sits in bed in the flickering light of a projector, discovering the truth about his world. He weeps, silently, knowing what he must now do. But vengeance is all he knows, and it consumes him.

This story captures with great subtlety the coarse truths about poverty, and crime, which are as true today in Canada and the US as they were forty years ago in England. There's no heroism, no loyalty, no glamour. We feel a kind of sorrowful revulsion at the squalid reality of Carter's world, even as we fear the intensity of his quest for his brother's killers. And we realise we've seen a perfect film of its kind - exceptionally skillful acting, cinematography and editing, bringing to life a taut script. Never again will we fall for the false romanticism of crime.

GET CARTER is the anti-Hollywood gangster movie, a film which strips away the glitz and glamour one usually associates with the genre to deliver one of the grimmest-looking movies ever. The north eastern locations are wonderfully used with this being a very visual movie that really brings out the grubby dirtiness of an industrial wasteland.

The characters, too, are grim. Michael Caine is the epitome of the anti-hero, a man just as cold, violent, and ruthless as those he pursues, except the viewer happens to be tagging along with him on his odyssey of revenge. The film's narrative has a mystery storyline as Caine attempts to uncover the circumstances surrounding his brother's death, and the supporting cast - including a memorable Ian Hendry - is exemplary.

Being a film from the 1970s, the sex and violence is ramped up, particularly the former in an arresting phone sex scene with Britt Ekland. Caine is on top form, delivering what I believe to be his most frightening performance, and the script offers up some real corkers in terms of the dialogue. In fact, GET CARTER is a film which it's very difficult to criticise; everything about it gels together perfectly, and it's a real classic for a reason. Mike Hodges should be proud of his accomplishments here.