Get Carter DVD und Blu-ray
Jack Carter ist ein unbarmherziger Schuldeneintreiber und Killer, der seine Aufträge skrupellos ausführt. Der plötzliche Tod seines Bruders Richie wirft ihn völlig aus der Bahn. Auf einmal beweist er Familiensinn und stellt sein bisheriges Leben. Get Carter – Die Wahrheit tut weh (engl. Get Carter) ist ein US-amerikanischer Actionfilm aus dem Jahr Die Regie führte Stephen T. Kay, die Hauptrolle. Jack rechnet ab (Originaltitel: Get Carter) ist ein britischer Gangsterfilm aus dem Jahre Regie führte Mike Hodges. Der Film basiert auf dem Roman Jack. dgfk.se: Finden Sie Get Carter - Die Wahrheit tut weh in unserem vielfältigen DVD- & Blu-ray-Angebot. Gratis Versand durch Amazon ab einem Bestellwert. Get Carter. (5)1h 38minX-Ray Jack rechnet ab ist ein britischer Gangsterfilm aus dem Jahre Regie führte Mike Hodges. Der Film basiert auf dem.
Jack rechnet ab (Originaltitel: Get Carter) ist ein britischer Gangsterfilm aus dem Jahre Regie führte Mike Hodges. Der Film basiert auf dem Roman Jack. Stephen T. Kays elegant inszenierter Actionfilm „Get Carter“ ist das Remake des gleichnamigen britischen Krimiklassikers aus den er Jahren, der auf Ted. Get Carter. (5)1h 38minX-Ray Jack rechnet ab ist ein britischer Gangsterfilm aus dem Jahre Regie führte Mike Hodges. Der Film basiert auf dem.
The technical complexity was compounded by the variation in light coming through the windows, and Osborne's whispered delivery  which made microphone placement difficult.
Hodges moved the camera and the boom closer to Osborne as the scene progressed. In shooting the scene in which Carter throws Brumby to his death from the multi-storey car park, Hodges used four shots: one of the pair struggling high up on the stairs; one from the lowest level of the stairwell where Caine actually threw Bryan Moseley over the side onto mattresses; one shot of a dummy falling; and one of the body of Brumby on top of a crushed car.
Hodges chose the beach for its bleak, dark atmosphere but when he returned to shoot the scene he found it bathed in bright sunshine, unsuitable for the sombre conclusion he was hoping for.
He waited hours until the sun began setting to capture the overcast shadowy lighting seen in the film.
The conveyor, a common sight on the East Durham coast, was known locally as 'The Flight'. The cleaning programme was known as 'Turning the Tide'.
Klinger was a very hands-on producer and was present during shooting and in post-production. He suggested Hodges use John Trumper as editor.
Hodges said that he and Trumper argued and disagreed constantly, but he still thought he was a "brilliant, brilliant editor" and was "very grateful to him for Sound editing and dubbing was done by Jim Atkinson, whom Hodges described as "so obsessive about the job".
He gave Hodges multiple possibilities of how the sound could be dubbed, and explored every angle. Klinger was worried that the debut director might be overwhelmed with too many options, but Hodges said he and Atkinson got on very well.
The majority of the music in the film was composed by Roy Budd , a jazz pianist and composer, who had previously worked on soundtracks for Soldier Blue and Flight of the Doves.
The musicians recorded the soundtrack live, direct to picture, playing along with the film. The theme tune features the sounds of the character's train journey from London to Newcastle.
The theme was released as a 7" vinyl single by Pye Records in , titled simply Carter and backed with "Plaything", another piece composed for the soundtrack.
The film includes other music which is not included on the soundtrack LP. The music playing in the nightclub scene is an uptempo cover of the Willie Mitchell tune ""  performed live by the Jack Hawkins Showband, which was the resident band at the Oxford Galleries night club.
Hawkins' name can be seen on the poster outside the club before Thorpe runs inside, and the band can faintly be seen on stage as Thorpe enters the club.
Michael Klinger was involved in promotion of the film in the UK, using the experience from his background as a distributor to conduct a strong advertising campaign.
Teaser posters for the film appeared on the front of every London bus, with the tag-line 'Caine is Carter'.
The original British quad poster with artwork by Arnaldo Putzu , in common with many film posters, has aspects or images that differ from the finished screen version.
Carter is depicted wearing a gaudy floral jacket, as opposed to the dark raincoat and mohair suit he wears in the film. Asked in , Putzu could not remember his artistic rationale for painting the floral jacket, but said he was painting a lot of flowers in designs at that time.
The poster also places Carter's shotgun in Eric's hands, and features a grappling man and woman who seem to belong to a different film.
MGM sold distribution rights to the film in the U. The film's release was delayed while parts of the film were redubbed, with no great improvement.
For years the version shown on British television was the redubbed American cut. The film did not encounter many censorship problems, although the scene where Carter knifes Albert Swift caused concern for the censor John Trevelyan.
A resurgence of critical and public interest in the film in the s led to the British Film Institute releasing a new print of the film in It worked with Hodges to restore the film, with Hodges sourcing another set of negatives of the original opening, which were found in the archives of the BBC.
The team then spliced the beginning segment onto a high-quality print of the film. Chibnall has established that the film was shown on LWT in and "in a bowdlerised version" which edited out Britt Ekland's phone sex scene  and once on Westward Television , but it was not shown nationally and in its entirety until a post-watershed BBC broadcast in Chibnall says "There was no advertising to suggest a significant event had occurred.
It was simply a part of the long process of exploiting MGM's back catalogue in the run-up to Christmas".
Despite this, the release was given a five-star review in Empire , where it was described as "one of the best British films of the 70s".
Chibnall notes "it did not, however, find a place in Empire ' s top fifty videos of the year". Warner Bros. Extras included three trailers; the international trailer, an introduction by Michael Caine to the people of Newcastle, and a third featuring Roy Budd playing the opening theme.
Also included on the DVD was commentary from Caine, Hodges and Suschitzky, constructed from separate interviews with the three. The soundtrack was presented in 1.
Describing the initial critical response to the film, Steve Chibnall wrote "Initial critical vilification or indifference establishes the conditions in which a cult can flourish.
Get Carter had to make do with ambivalence". He found Carter's motivations were inconsistent, either being an avenging angel or an "authentic post-permissive anti-hero, revelling in the casual sadism".
It's intoxicating all right, but it'll do you no good". Steve Chibnall writes that "America was rather more used to hard-boiled storytelling" and that reviewers there were "more prepared than British criticism to treat Get Carter as a serious work",  Pauline Kael admiring its "calculated soullessness"  and wondering if it signalled a "new genre of virtuoso viciousness".
It predicted that "It should please in the action market, but won't win any laurels for Caine although his portrayal of the vicious anti-hero impresses".
Roger Ebert was less reserved in his praise, writing that "the movie has a sure touch". He noted the "proletarian detail" of the film which is "unusual in a British detective movie.
Usually we get all flash and no humanity, lots of fancy camera tricks but no feel for the criminal strata of society".
He's tough and ruthless, but very quiet and charged with a terrible irony". Judith Crist in New York magazine gave a glowing review, saying "Michael Caine is superb, suave and sexy" and describing the film as "a hard, mean and satisfying zinger of the old tough-tec school done in frank contemporary terms".
In Michael Klinger's The Guardian obituary in , Derek Malcolm remembered the film as "one of the most formidable British thrillers of its time".
He also noticed a substantial increase in women voting on the film in the eight months leading up to April Get Carter was a financial success, and according to Steve Chibnall its box office takings were "very respectable".
On its general release in the North of England, Chibnall notes it had a "very strong first week", before an unseasonal heatwave damaged cinema attendance.
Chibnall writes that "Interestingly, although [the film's] downbeat and unsentimental tone is now thought to express the mood of its times, the mass cinema audience preferred Love Story Arthur Hiller , which remained the most popular film in Britain throughout Get Carter' s run".
As with Hit Man , the film credited Ted Lewis's Jack's Return Home as its source, not Hodges' film, and again it contains scenes which are directly borrowed from the original, such as the opening train ride.
The remake was compared unfavourably to the original by the majority of reviewers. Also, reviews are mixed concerning Stallone's acting".
His son brought him a DVD of the film back from Hong Kong and he tried to watch it, but the region format was incompatible "so we put it in the dustbin".
Another film based on Lewis's book, Hit Man , directed by George Armitage and starring Bernie Casey and Pam Grier ,  was released in , taking some plot details and treatments, such as a sniper shooting Carter on a rocky beach, from Hodges' film.
Tom Cox writes that many British film makers "have stolen from Hodges without matching the cold, realistic kick" of Carter.
Steven Soderbergh 's film The Limey is a homage to Carter and other British gangster films, and contains similar plot elements and themes of revenge, family and corruption.
The series' set designers and property masters state that, while the audience and critics may liken the series to The Sweeney , Get Carter was their visual guide and the source of series' look.
The film's music also enjoyed its own resurgence in popularity, as it tapped into a s interest in vintage film soundtracks.
Portishead 's Adrian Utley explained that they found the music to Get Carter inspiring as "it was done quickly and cheaply with only a few instruments, and it had to be intensely creative to disguise its limitations".
This Stereolab version was subsequently used as a sample in the song "Got Carter" by Jah Wobble produced a dub cover version of the theme tune in From Wikipedia, the free encyclopedia.
This article is about the film. For other uses, see Get Carter disambiguation. Original UK film poster by Arnaldo Putzu. MGM-British Studios.
Greenwood Press. Archived from the original on 14 April Retrieved 6 November The Michael Klinger Papers. University of West England. Archived from the original on 27 December Retrieved 10 March Archived from the original on 27 September Retrieved 6 July Left Field Cinema.
Left Field Cinema — Archived from the original on 19 April Retrieved 14 February Financial Times Magazine.
Retrieved 16 March BBC News. Archived from the original on 15 May Retrieved 6 April Archived from the original on 31 October Retrieved 20 February Get Carter.
Archived from the original on 24 February Retrieved 5 May San Bernardino County Sun. Archived from the original on 29 December Retrieved 14 March Venice Magazine.
Archived from the original on 18 January Michael Caine: A Biography. AFI Catalog. Archived from the original on 28 December Archived from the original on 11 January Jack mag archives, Sabotage Times, 30 December Sabotage Times.
Archived from the original on 31 December Hodges: "The sound man comes up to me and says, "John's too quiet". And I said, "He's come to me like that and that's how I want him".
So if you watch that scene I just get closer and closer with the camera to capture that quietness. John was great, there was a lot of menace in that quietness.
He made a great villain". The Ted Lewis group continue their excellent appreciation of the author and his finest work by announcing their events for The ever useful Modculture website has alerted me to the fact that a brand new 3CD reissue of the Get Carter soundtrack is being released this month.
The Newcastle Chronicle has just published an article that includes a video of the last few hours of the infamous Gateshead Trinity car park and what it looked like internally just before it was torn down.
It really does The book was only made possible as it was written by a mercurial author called Some excellent pre-Christmas news for all those Get Carter fans who are looking for a good book over the winter.
It looks like we have, at last, a strong, definitive look at the life of Ted Lewis — the Get Carter. From Wikipedia, the free encyclopedia.
Theatrical release poster. British Board of Film Classification. Retrieved Archived from the original on The Envelope at LA Times.
Archived from the original on 5 January Retrieved 18 September DVDs ReleaseDates. Retrieved 29 November Films directed by Stephen Kay.
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Get Carter VideoGet Carter (2000)
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