You can take the boy out of Liverpool but… This is Get Carter with a more believable premise and a more chilling message produced over a year before Mike Hodges’ admittedly more stylish, Brit-noir classic.
It features a performance of characteristically-controlled intensity from Nicol Williamson as Michael Marler a second-generation Irish Scouser who has found there’s room at the top by seemingly abandoning his roots. He has evolved his persona to fit in and has a society wife, posh house, sharp suits and even sharper cars. Michael is a corporate killer in the emerging commercial world where old school ties are no longer enough when compared with the ruthless pursuit of success.
The fascination with this type of commercial success was very much of its time but Jack Gold’s film goes further than most in linking the mentality with deeper and more instinctive traits for survival and success.
|Great shot of Liverpool in 1969, GPO Tower thrusting optimistically amidst the relics...|
Bold statements perhaps but Gold’s direction is serious and well-paced whilst Nicholson could act his way out of a high-security cell without anyone noticing, smuggling so much meaning you’d only know what it was when it was gone… he’s that subtle.
Michael is in a state of constant conflict, in the midst of the constant battles of corporate politics and ongoing domestic pugilism with a relationship with wife Rosemary (Ann Bell) that is almost sado-masochistic. She’s home countries deb stock with a wit to match his but he is still her bit of rough and their main intercourse is either violent or sexual… It’s an unusual relationship but one that endures… what does that tell us?
|Nicol Williamson and Ann Bell|
He delays Michael long enough for him to miss his final goodbye… as he races up the M1 and M6 to find his Da John Joe (Ernest C. Jennings) just passed. There are poignant shots of Michael’s shiny Jaguar against the Liverpudlian decay… all along time before the regeneration that, incidentally, now threatens the City’s UNESCO World Heritage Site status… there’s an irony there somewhere but this is one of the great metropolises.
Michael’s mother (Gwen Nelson) describes her husband as having a fall but his sister Kath (Christine Hargreaves) knows more… Michael gets nothing but a lecture from his Da’s doctor (Godfrey Quigley) and the local priest, Father Madden (Desmond Perry) with whom his Da has craftily left a final message for his son to embrace his Catholicism and heritage more closely than the battle for business glory.
Michael’s having none of it… but he is distraught at his father’s passing, tears welling up as he realises the enormity of the loss itself and his day-to-day denials… we’re all sustained by the fantasy of workplace routine.
Michael sets out to find out what actually happened to his father and visits his working men’s club to quiz Cocky Burke (J. G. Devlin), his drinking buddy. It’s a slice of seventies culture as vivid as the pub Carter visits on his return to Newcastle only the signer’s better and the locals more accommodating. Cocky explains that his father took a beating from some bikers and points him in the direction of the lad who hit the hardest.
This is the law of the jungle… and Michael is expected to “do something” as the English police will neither be co-operated with nor expected to help investigate an Irish Catholic’s death. Religion is hugely important in a city where, even today, two thirds of English Catholics live but they’re also in the police force. All that aside, nothing will be done unless the family takes care of it.
|Nicol Williamson and Rachel Roberts|
But, the World moves on and Michael flies down to London again in his Jag for more corporate manoeuvres and the narrative picks up tremendous pace as the urge to violent retribution leads Michael into ever more aggressive and reckless displays at work… This is where the film goes deeper than Get Carter as Michael is able to find acceptance from a corporate leadership beginning to value results at all costs… The twin tracks of the concluding segments are devastating and surprising in this respect as you really don’t expect the ending you get (no spoilers).
|War at work|
The violence comes with added sexism and an entirely intentional abuse of some women characters all of which gives a lie to the “it was a different era” defence for recently-exposed harassers: yes, some men did but then other men didn’t and then made films about it…
If you like Get Carter, Man of Violence and other turn of the decade British noir you’ll love this, and you can now get it on Blu-ray from those nice people at Amazon.
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