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Great film that doesn't take itself too seriously. For me, the parts played by Dennis Price and Lionel Stander kind of steal the show. Narrated in the first person throughout, if I remember rightly, I guess it could also have been called "An Innocent Abroad" or something similar, as Micheal Caine finds himself "up against it" and completely out of his depth in comfortable surroundings he feels uncomfortable in as violence hovers just beneath the surface. So, for those reasons it's a bit like "Get Carter", only this time around there's no personal crusade he's on; he's just a writer of pulp fiction out for what he can get from an ageing Hollywood actor (played by Mickey Rooney) who wants him to ghost-write his autobiography. I suppose this film is a bit like "Chinatown" in some respects as it deals with the futility of attempting to tackle corruption on a grand scale - only unlike the Polanski movie, it never won any awards because it never really took itself too seriously. How can one take Caine as a tough, gritty Londoner, when he swans around Malta in a white suite and sunglasses - smoking through a cigarette holder like a Cockney Noel Coward?

While Hodges and Caine's 'Get Carter' has long since become a classic movie, it's follow up, 'Pulp' has been largely forgotten about. This is a shame, as, on it's on its own terms, and 'Pulp' is as rich a film. Like the previous movie, 'Pulp' is influenced by such noir writers as Chandler, Hammett and MacDonald (all three are referenced during the film), however, the big difference lies is the amount of comedy used. The first half is full of comic moments and (even though it does turn darker) comedy is ever-present.

Most obviously, it's in the way the movie parodies such clichés as voice overs (people who complain of it's over use are, I think, missing the point, as the tension between King's voice over and the actual events help give the movie it's kick).

Michael Caine's 'Micky King', is light-years away from his role as the vengeful 'Jack Carter', slightly pathetic, constantly trying to keep up with the plot, is an enjoyable performance, as is Mickey Rooney's over the hill movie star.

The 'Loaded' generation who took 'Carter' into their hearts are never, ever going to understand this movie, but in its own quirky way, it's up there with such key 'seventies movies as 'The Long Goodbye' or 'Chinatown'.

Mike Hodges' GET CARTER (1971) is, supposedly, a realistic gangster flick about a hit man, played by Michael Caine, who murders without demur and, indiscriminately, screws every bird in sight; yet, wells up at the thought that - is it his niece? - has been snatched up by a porno-movie ring. He systematically knocks off mob kingpins and we are invited to watch him do it - with cold-blooded relish.

PULP is gangster related too, but pure Lewis Carroll in narrative plausibility; nevertheless, Caine's Mickey King is amusingly credible in the manner in which he drinks in the dream world that happens to him.

PULP pulls off something that few films (including SUNSET BLVD., with the marvelous William Holden) are able to do. It makes an author its central character and you believe, from start to finish, that he is, in fact, a man of curiosity and invention, who makes his living by the employment of words.

Among Hodges' other films, CROUPIER (1998) is closer to PULP than GET CARTER is because its protagonist's literary pretensions resemble King's habit of describing a shady milieu which operates in moral twilight. Both pictures suffer from direction too tightly melded to intriguing fictional conceits. However, the phlegmatic understatement of Caine's voice-over commentary (written by Hodges) is maintained impressively, the Malta locations and surprising russet colors - not to mention the freak-show supporting cast of Mickey Rooney, Lionel Stander, Lizabeth Scott, Dennis Price, Nadia Cassini's mile-long legs and, Bogart look-a-like, Robert Sacchi make it a must for connoisseurs of the truly offbeat.

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One reviewer suggested that "Pulp" never became a box-office hit because it can't be easily classified into a genre. That's certainly a legitimate way of explaining it. Another explanation could be that it's just not a very good movie. It wants to be a mystery, but the plot never grips you like it should; it wants to be a comedy, but the laughs are not as frequent as they should be (one great line, though: after trying to watch a film that is projected upside down, a guy says "This would be a big hit in Australia!"); it wants to "say something" about the thin line separating reality from fiction, but that "something" doesn't come through very clearly. Michael Caine gives a sly performance, full of his typical cool bemusement, and he just about manages to get you through the film (with some help from the pleasant Malta locations and Nadia Cassini's long legs). Near the end, there is a scene on a deserted beach that may remind you of the finale of "Get Carter". That's not a good thing, however, as you may find yourself wishing you were (re-)watching that film instead of this one. (**)

A pulp novelist (Michael Caine) goes to Italy to ghost the autobiography of an old time Hollywood film gangster (Mickey Rooney), but maybe not everyone wants to see the book written?

One of these films that was under regarded upon release, but has more going for it than you might imagine. The real Italian locations and Caine's dry understated voice-over play well against the gags and situations. Rooney sends himself up something rotten as a George Raft style figure; and we keep on watching wanting to know how it all turns out.

While far short of a classic, I got dragged in and was very well entertained during its 90 minutes. However it's slow nature and lack of pyrotechnics might alienate the modern audience. Worth giving a go with if it is playing on late night TV, especially if you like a bit of black humour.