The Tennessean from Nashville, Tennessee • Page 16

THI NASHVIUI PrMay. M.rcn 19, 1971 16 'Get Carter' in Review rhri wanaiof Duhhino Ed tor: Jim Atk nson; uuDDing muei. nugn sirain. Director of PhKaohv- Wo fgang Suschitzkv; Camera Operator: Dusty lfer Special EttectsHack Walliv Film Editor: John Trumper. Production D.Vn.?: AS5heton G(Ktw Art' Director: RoSer K.n9 Costume Designer: Vangie Harrison.

Makeup: George Keith reproduction Supervisor: Robert Sterne: Assistant Director Keith Evans; Location Manager: Derek Gibson. Technical Adviser. Johnny Morris Continuity: Dorean Dearnaley. Casting: Irene Lamb. MPAA Ri Tina.

"Restricted -Under 18 Requires Accompanying Parent or Adult Guardlank Running A Case of Carrying Cold-Blood to Newcastle lime: in winuies. upennm iwuay 01 no Terence Righy Gerald Fletcher Michael Caine Jack Carter Frir By HARRY HAW TENNESSEAN Motion Picturt Editor ACK CARTER is not the Ian Hendry Britt Ekland John Osborne Tony Beckley George Seweli Geraldine Dorothy White Rosemarie Dunham Pelra Markham Alun Armstrong Brvin MnilPV Anna Kinnear Peter Con G'enda Margaret Edna Doreen Keith sort of conquering hrro jonn Bindon Godfrey Quigley Kevin Brennan Maxwell Dees Liz McKemia John Hussey Ben ri Kittv Attwood Denea Wilde Geraldine Sherman Joy Merlvn Yvonne Michael Alan Hockey Sid Fieicner Eddie Harry Vicar Mrs. Brumby First Architect Second Architect Old Woman Pub Singer Girl in cafe First Woman Second Woman Scrapyard Dealer Brumby AlKart Alurtn Eijwariil Thorpe Bernard Hepton with another, A cool score by Roy Budd, in the jazz groove, also helps out. One good thing does finally emerge from "Get There won't be a sequel. Carter's film and world end with a bang from one of his own kind, a hired assassin.

"The End" is written over spilled, cold blood on a lonely Ne a 1 1 beach. And, significantly, it isn't much to cry about another debatable victory for the dehumanizing effects of compromised niece daughter; Geraldine Moffatt as a doped-up moll; Dorothy White as a coarse prostitute; and Rosemarie Dunham as an aging, but amorously inclined, landlady. Wolfgang Suschitzky's highly atmospheric photography capitalizes on the seldom-seen scenery of England's north country. Despite the longish running-time, the editing of John Trumper gives the illusion of 1 a ne sometimes inventively lacing one sequence Best Actor Best Supportinx Actor Nominated For i Academy Awards Best Screenplay IV? VVv hometowns turn out to hail. He's the sort they just plain turn out in the first place and try to forget.

Thus, his bad-penny return is greeted more with hangs than bands. (The only band that shows up during the course of the new Loew's Melrose movie comes as an intrusion, particularly out of tune with the covert nndcr-the-covers activities he has going for him at the time.) At best, he makes himself as welcome on his tough home turf of Newcastle 8S another load of coal. A gunman from London, Carter is brought back on "business" namely, to avenge his brother's murder. And who better to do it than a crime-syndicate's hired killer? The "hitch is that his hometown has its own syndicates charging away on all cylinders, so the name of the ensuing, unsavory game soon becomes "Get Carter." EVEN THAT title is a misnomer, since most of the movie's 111 minutes has Carter doing the getting. He goes about this work with a literal and figurative vengeance, killing colorfully and never the same way twice.

He drugs and drowns an incredible tangle, compounded by Cockney accents, incomplete characterizations and information Hodges chooses to withhold. There is, for example, a testing suggestion that Carter's niece is actually his daughter and that, the real motive behind his murderspree is that she has been lured into pornographic films. At any rate, corpses quickly begin to pile up some without the slightest clue as to what they're doing in the picture in the first place. Not that this deficit provokes much concern from the audience. There are no good guys in "Get Carter." There are only good sho's.

The one gentle heart in the film, a funeral-mourner who has some kind words for Carter's brother, gets a drink thrown in his face and promptly departs. MI A CAINE, an English underplayer with a tendency for apathetic performances, does remarkably well with the title role, animating the criminal mind with brash resolve and unexpected poignancy. Some silky villainy is dispatched with almost visible enjoyment by bearded John Osborne, the playwright turned tenla'ive actor, and Ian Hendry has his moments as a homosexual hood. The ladies in the case are decoralively utilitarian Brilt Ekland as Carter's London bird with whom hu makes long-distance love; Petra Markham as his Michael Caine plays a hired killer who comes home to bury his brother (and all parties responsible for the death) in "'Get Carter," opening today at the Loew's Melrose. 100 COLOR 1st Run WE'RE BAD WITH WORDS BUT GREAT WITH PICTURES AND NOW FOR A "BIG BEAVER SPLITS THE SCENE" mayhem, it's pretty well lost along with a lot of plot par-t i 1 a obliqueness is another thing it has in common with "Point Blank." JUST AS THE latter film allowed director John Boor-man to gradual from British TV to fealure films, "Get permits Mike Hodges to go the same route.

It too is a flashy debut, characterized by the fast cuts and free-wheeling realism that generally accompany a television background. His direction has drive and pizzaz, POSITIVELY NO ONE ADMITTED UNDER 18 YRS. OF ACE DOWNTOWN 107 4th N. Off Broadway Ph. 255-9024 WWL SOT "ONE OF THE YEAR'S TEN BEST" spiration," "Point Blank" does have a cult, but it hardly deserves admiration much less imitation.

If that is indeed "Carter's" target, then it is a "Blank Point." Minus any pretenses of stylizing its mayhem, the new entry manages to make itself merely the meanest and most morbid crime-melodrama to come along since "Point Blank," keeping this thought by covering some of the same charred ground visiting an auto graveyard, then sending quite a few cars there in subsequent chases and crashes. Some of the gangland "hits" are even identical. The light touches range from slut-slapping to crotch-kicking. If there is a message to this DOORS OPEN 10:45 Wfton In Southern California visit Universal StudhsXSX JUDITH CRIST, CENESHAUT, HEX HEED. I BOB SALMAGGI, Group Radio NBC-TV LOOK Holiday runaway hilarity when if not taste and art.

Less successful is Hodges' staccato adaptation of "Jack's Return Home," a novel by Ted Lewis published last spring. The story comes off in COWMSU nCTUUS pmMa a prostitute, he shoves a knife repeatedly into a hoodlum, he pushes a ganglord off his high-rise perch, he forces Scotch down a henchman before applying a gun-butt to the skull, and once he slips up and just shoots a guy. All In his first (and last) 48 hours home. If the foregoing violence sounds familiar, it should. "Get Carter" translates, very roughlv, as "Get the 'Point which M-G-M should have done instead of seconding the sado-masochism supposedly "stylized" in Lee Marvin's brutal vehicle of '67.

A dubious source of "in- MS MELVYN DOUGLAS -GENE HACKMAN DOROTHY STICKNEYand ESTELLE PARSONSauc "I NEVER SANG FOR MY FATHER" Bdtcd on f(X My rht WIT Mvd Al COtCOM Cynrt. VM nJ teeyy MH Produced and DwKted by CJlBlnr OIIS liVUMll711 unjj OW -w Jft. mm LIVE fclAIME LOBSTER runs down 2ND BIC WEEK GP "KILT ft A 1 lid if FEATURE TIMES I Seven men ready fcULUMHIHrK.IUHta HI PrMWtt COLUMBIA PICTURES Prajantt AOINODE LAURENT1IS PRODUCTION to Rill for Nominated for a fortune in Gold! fj pdlM 1 vw f.l AWARDS VP HUB RM IU MW V' the movfe the entire fcCM familswillenjoaJ CfrihKTtaf IflC El VMM EW1NE JDYff -EDWARDANDREWS -WCSNECRAIG-FRANK WEIKER II II ll I lllll! Srenrlir O.ietKJbr Prnhieti) by liUL I LI i GEORGE fIBfllES OWARO J.MUNTAGNfOON KNOITS ALAN BAfKIN HDJ.HUE AUNIVEHSAL Ml TECHNICOLGR" FEATURE 11 1 TIMES iJjlJS Ifl 'fl I Original Story and Screenplay by VIC MORROW i FRANK KOWALSKI iMClCiaflS co-Producer HARRY BLOOM 1 I i I 1 produced by DIN0DELAURENT1IS 1 tTygTliffllOTHTOI i 1 rKn Directed by VIC MORROW I 8 7j TECHNICOLOR TECHNISCOPt MON-FRI SAT-SUN Her IL NOW SHOWING There are txree diings that can change your life in a split- an ARTHUR JACOBS production a lo) mnnra arris 0LV IMA fICJ cWlON hESTON in an ARTHUR JACOBS production Miyiinii 3 second. PARAMOUNT PICTURES PRESENTS I Ali MacGraw Ryan O'Neal IT. rrnm 7-a hme just or TrHEMUkSS The Year's happened to 1 1 Best Seller w- 13th BIC WEEK Columbia Pictures Presents A David Susskwd-Robert Mulligan Production Michael Barbara Sarrazn fiershey th 20a j'' A HOWARD G.

MINSKY-ARTHUR HILLER Production Staning pursuit i JSZ, of appmess John Marley Ray MHIand Written by Directed by Produced by ERICH SEGAL ARTHUR HILLER HOWARD 6. MINSKY Executive Pmducer Music Scoied by no DAVID GOLDEN FRANCIS LAI a paramount picture 4 KIM HUNTER MAURICE EVANS- LINDA HARRISON Co Slaiimg PAUt RICHARDS VICTOR 8U0N3 JAMES GREGOHV JEFF COREY umuvMi-wmmu dn(1 CHARLTON HESTONas Piodutrd APJAC PR0DUC1I0NS Issocmk Piooucei MORI ABRAHAMS 0 by TED POST Scwcid, by PAUL DEHN Sio.y PAUL DEHN and MORI ABRAHAMS on Cucins Citdled by P.ilWf BOULtf Music by U0R0 R0SNM PAM.iSiOV Color by Cl lUf ORIGINAL SOUND WACK AL8UM ON AMOS RECORDS RODDY McDOWALL MAURICE EVANS KIM HUNTER JAMES WHUMORE JAMES DALY LINDA HARRISON APJAC PRODUCTIONS MORT ABRAHAMS FRANKUN J. SCHAFFNER MICHAEL WILSON ROD SERUNG uusic IWITT COlfliKiiH seo oh a ot B' rIEWflOJLa PMTStCH Color ti IUIT to Stirring tmaiso starring Arthur HHI Ruth White 6. Marshall Klein as 'Danitl lawrtnct' ScnnpHy by JON BOO THE neECGEL. SHE Rt.

'A tl ext w. fWC-S Vm-c re ve tUoc-t Productr alan ShANt ty DA ViD SUSSKIW D-'Kti ty ROBERT tULUOAN COLOR LrXJ Prtfti (iu't)n( iuCjflrllnj -FEATURE 2ND OPENS fe. NOW FEATURE TIMES lrniAiiiu I MONDAY thru FRIDAY I NOW I SHOWING 1 riUVYIINO i 7:15.9:15 rmmmj I.