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Lady Chatterley's Lover

Lady Chatterley's Lover is the last novel by English author D. H. Lawrence, which was first published privately in 1928, in Italy, and in 1929, in France. An unexpurgated edition was not published openly in the United Kingdom until 1960, when it was the subject of a watershed obscenity trial against the publisher Penguin Books, which won the case and quickly sold three million copies. The book was also banned for obscenity in the United States, Canada, Australia, India and Japan. The book soon became notorious for its story of the physical (and emotional) relationship between a working-class man and an upper-class woman, its explicit descriptions of sex and its use of then-unprintable profane words. It entered the public domain in the United States in 2024.

Background
Lawrence's life, including his wife, Frieda, and his childhood in Nottinghamshire, influenced the novel. According to some critics, the fling of Lady Ottoline Morrell with "Tiger", a young stonemason who came to carve plinths for her garden statues, also influenced the story. Lawrence, who had once considered calling the novel John Thomas and Lady Jane in reference to the male and the female sex organs, made significant alterations to the text and story in the process of its composition.

Lawrence allegedly read the manuscript of Maurice by E. M. Forster, which was written in 1914 but published posthumously in 1971. That novel, although it is about a homosexual couple, also involves a gamekeeper becoming the lover of a member of the upper classes and influenced Lady Chatterley's Lover.

Plot
The story concerns a young married woman, the former Constance Reid (Lady Chatterley), whose upper-class baronet husband, Sir Clifford Chatterley, described as a handsome, well-built man, is paralysed from the waist down because of a Great War injury. Constance has an affair with the gamekeeper, Oliver Mellors. The class difference between the couple highlights a major motif of the novel. The central theme is Constance's realisation that she cannot live with the mind alone. That realisation stems from a heightened sexual experience that Constance has felt only with Mellors, suggesting that love requires the elements of both body and mind.

Mind and body
Richard Hoggart argues that the main subject of Lady Chatterley's Lover is not the explicit sexuality, which was the subject of much debate, but the search for integrity and wholeness. Key to this integrity is cohesion between the mind and the body, for "body without mind is brutish; mind without body... is a running away from our double being". Lady Chatterley's Lover focuses on the incoherence of living a life that is "all mind", which Lawrence found to be particularly true among the young members of the aristocratic classes, as in his description of Constance's and her sister Hilda's "tentative love-affairs" in their youth:

"So they had given the gift of themselves, each to the youth with whom she had the most subtle and intimate arguments. The arguments, the discussions were the great thing: the love-making and connection were only sort of primitive reversion and a bit of an anti-climax."

The contrast between mind and body can be seen in the dissatisfaction each character experiences in their previous relationships, such as Constance's lack of intimacy with her husband, who is "all mind", and Mellors's choice to live apart from his wife because of her "brutish" sexual nature. The dissatisfactions lead them into a relationship that develops very slowly and is based upon tenderness, physical passion, and mutual respect. As the relationship between Lady Chatterley and Mellors builds, they learn more about the interrelation of the mind and the body. She learns that sex is more than a shameful and disappointing act, and he learns about the spiritual challenges that come from physical love.

Jenny Turner maintained in The Sexual Imagination from Acker to Zola: A Feminist Companion (1993) that the publication of Lady Chatterley's Lover broke "the taboo on explicit representations of sexual acts in British and North American literature". She described the novel as "a book of great libertarian energy and heteroerotic beauty".

Class
Lady Chatterley's Lover also presents some views on the early-20th-century British social context. That is most evidently seen in the plot on the affair of an aristocratic woman (Connie) with a working-class man (Mellors). That is heightened when Mellors adopts the local broad Derbyshire dialect, something he can slip into and out of. The critic and writer Mark Schorer writes of the forbidden love of a woman of relatively superior social situation who is drawn to an "outsider", a man of a lower social rank or a foreigner. He considers that to be a familiar construction in Lawrence's works in which the woman either resists her impulse or yields to it. Schorer believes that the two possibilities were embodied, respectively, in the situation into which Lawrence was born and that into which Lawrence married, which becomes a favourite topic in his work.

There is a clear class divide between the inhabitants of Wragby and Tevershall that is bridged by the nurse Mrs Bolton. Clifford is more self assured in his position, but Connie is often thrown when the villagers treat her as a Lady like when she has tea in the village. This is often made explicit in the narration such as here:

"Clifford Chatterley was more upper class than Connie. Connie was well-to-do intelligentsia, but he was aristocracy. Not the big sort, but still it. His father was a baronet, and his mother had been a viscount's daughter."

There are also signs of dissatisfaction and resentment from the Tevershall coal pit colliers, whose fortunes are in decline, against Clifford, who owns the mines. Involved with hard, dangerous and health-threatening employment, the unionised and self-supporting pit-village communities in Britain have been home to more pervasive class barriers than has been the case in other industries (for an example, see chapter 2 of The Road to Wigan Pier by George Orwell.) They were also centres of widespread Nonconformism (Non-Anglican Protestantism), which hold proscriptive views on sexual sins such as adultery. References to the concepts of anarchism, socialism, communism and capitalism permeate the book. Union strikes were also a constant preoccupation in Wragby Hall.

Coal mining is a recurrent and familiar theme in Lawrence's life and writing because of his background, and it is prominent also in Sons and Lovers and Women in Love and short stories such as Odour of Chrysanthemums.

Industrialisation and nature
As in much of the rest of Lawrence's fiction, a key theme is the contrast between the vitality of nature and the mechanised monotony of mining and industrialism. Clifford wants to reinvigorate the mines with new technology and is out of touch with the natural world. In contrast, Connie often appreciates the beauty of nature and sees the ugliness of the mines in Uthwaite. Her heightened sensual appreciation applies to both nature and her sexual relationship with Mellors.

Censorship
A publisher's note in the 2001 Random House Inc. edition of the novel states that Lawrence "was unable to secure a commercial publication [of] the novel in its unexpurgated form". The author privately published the novel in 2000 copies to his subscribers in England, the United States and France in 1928. Later that same year, the second edition was privately published in 200 copies. Then, pirated copies of the novel were made.

An edition of the novel was published in Britain in 1932 by Martin Secker, two years after Lawrence's death. Reviewing it in The Observer, the journalist Gerald Gould noted that "passages are necessarily omitted to which the author undoubtedly attached supreme psychological importance—importance so great, that he was willing to face obloquy and misunderstanding and censorship because of them". An authorised and heavily censored abridgment was published in the United States by Alfred A. Knopf, Inc. also in 1932. That edition was subsequently reissued in paperback in the United States by Signet Books in 1946.

British obscenity trial
In November 1960, the full unexpurgated edition, the last of three versions written by Lawrence, was published by Penguin Books in Britain, selling its first print run of 200,000 copies on the first day of publication.

The trial of Penguin under the Obscene Publications Act 1959 was a major public event and a test of the new obscenity law. The 1959 Act, introduced by Roy Jenkins, had made it possible for publishers to escape conviction if they could show that a work was of literary merit. One of the objections was to the frequent use of the word "fuck" and its derivatives. Another objection related to the use of the word "cunt".

Various academic critics and experts of diverse kinds, including E. M. Forster, Helen Gardner, Richard Hoggart, Raymond Williams and Norman St John-Stevas, were called as witnesses. The verdict, delivered on 2 November 1960, was "not guilty" and resulted in a far greater degree of freedom for publishing explicit material in the United Kingdom. The prosecution was ridiculed for being out of touch with changing social norms when the chief prosecutor, Mervyn Griffith-Jones, asked if it was the kind of book "you would wish your wife or servants to read".

The Penguin second edition, published in 1961, contains a publisher's dedication, which reads: "For having published this book, Penguin Books was prosecuted under the Obscene Publications Act, 1959 at the Old Bailey in London from 20 October to 2 November 1960. This edition is therefore dedicated to the twelve jurors, three women and nine men, who returned a verdict of 'not guilty' and thus made D. H. Lawrence's last novel available for the first time to the public in the United Kingdom".

In 2006, the trial was dramatized by BBC Wales as The Chatterley Affair.

Australia
The book was banned in Australia, and a book describing the British trial, The Trial of Lady Chatterley, was also banned. In 1965 a copy of the British edition was smuggled into the country by Alexander William Sheppard, Leon Fink, and Ken Buckley, and then a run of 10,000 copies was printed and sold nationwide. The fallout from that event eventually led to the easing of censorship of books in the country. The ban by the Department of Customs and Excise on Lady Chatterley's Lover, along with three other books—Borstal Boy, Confessions of a Spent Youth, and Lolita—was lifted in July 1965. The Australian Classification Board, established in 1970, remains.

Canada
In 1962, McGill University Professor of Law and Canadian modernist poet F. R. Scott appeared before the Supreme Court of Canada to defend Lady Chatterley's Lover from censorship. Scott represented the appellants, who were booksellers who had been offering the book for sale.

The case arose when the police had seized their copies of the book and deposited them with a judge of the Court of Sessions of the Peace, who issued a notice to the booksellers to show cause why the books should not be confiscated as obscene, contrary to s 150A of the Criminal Code. The trial judge eventually ruled that the book was obscene and ordered that the copies be confiscated. That decision was upheld by the Quebec Court of Queen's Bench, Appeal Side (now the Quebec Court of Appeal).

Scott then appealed the case to the Supreme Court of Canada, which allowed the appeal on a 5–4 split and held that the book was not an obscene publication.

On 15 November 1960, an Ontario panel of experts, appointed by Attorney General Kelso Roberts, found that novel was not obscene according to the Canadian Criminal Code.

United States
Lady Chatterley's Lover was banned for obscenity in the United States in 1929. In 1930, Senator Bronson Cutting proposed an amendment to the Smoot–Hawley Tariff Act, which was being debated, to end the practice of having U.S. Customs censor allegedly obscene imported books. Senator Reed Smoot vigorously opposed such an amendment and threatened to read indecent passages of imported books publicly in front of the Senate. Although he never followed through, he included Lady Chatterley's Lover as an example of an obscene book that must not reach domestic audiences and declared, "I've not taken ten minutes on Lady Chatterley's Lover, outside of looking at its opening pages. It is most damnable! It is written by a man with a diseased mind and a soul so black that he would obscure even the darkness of hell!"

A 1955 French film version, based on the novel and released by Kingsley Pictures, was the subject of attempted censorship in New York in 1959 on the grounds that it promoted adultery. The US Supreme Court held on 29 June 1959 that the law prohibiting its showing was a violation of the First Amendment's protection of free speech.

The ban on Lady Chatterley's Lover, Tropic of Cancer and Fanny Hill was fought and overturned in court with assistance by publisher Barney Rosset and lawyer Charles Rembar in 1959. It was then published by Rosset's Grove Press, with the complete opinion by United States Court of Appeals Judge Frederick van Pelt Bryan, which first established the standard of "redeeming social or literary value" as a defence against obscenity charges. Fred Kaplan of The New York Times stated the overturning of the obscenity laws "set off an explosion of free speech".

Susan Sontag, in a 1961 essay in The Supplement to the Columbia Spectator that was republished in Against Interpretation (1966), dismissed Lady Chatterley's Lover as a "sexually reactionary" book and suggested that the importance given to vindicating it showed that the US was "plainly at a very elementary stage of sexual maturity".

Japan
The publication of a full translation of Lady Chatterley's Lover by Sei Itō in 1950 led to a famous obscenity trial in Japan that extended from 8 May 1951 to 18 January 1952, with appeals lasting to 13 March 1957. Several notable literary figures testified for the defence. The trial ultimately ended in a guilty verdict with a ¥100,000 fine for Ito and a ¥250,000 fine for his publisher.

India
In 1964, the bookseller Ranjit Udeshi in Bombay was prosecuted under Section 292 of the Indian Penal Code (sale of obscene books) for selling an unexpurgated copy of Lady Chatterley's Lover.

Ranjit D. Udeshi v. State of Maharashtra (AIR 1965 SC 881) was eventually laid before a three-judge bench of the Supreme Court of India. Chief Justice Hidayatullah declared the law on the subject of when a book can be regarded as obscene and established important tests of obscenity such as the Hicklin test.

The court upheld the conviction:

"When everything said in its favour we find that in treating with sex the impugned portions viewed separately and also in the setting of the whole book pass the permissible limits judged of from our community standards and as there is no social gain to us which can be said to preponderate, we must hold the book to satisfy the test we have indicated above."

Cultural influence
In the United States, the full publication of Lady Chatterley's Lover was a significant event in the "sexual revolution". The book was then a topic of widespread discussion and a byword of sorts. In 1965, Tom Lehrer recorded a satirical song, "Smut", in which the speaker in the song lyrics cheerfully acknowledges his enjoyment of such material; "Who needs a hobby like tennis or philately?/I've got a hobby: rereading Lady Chatterley".

The British poet Philip Larkin's poem "Annus Mirabilis" begins with a reference to the trial:

In 1976, the story was parodied by Morecambe and Wise on their BBC sketch show. A "play what Ernie wrote", The Handyman and M'Lady, was obviously based on it, with Michele Dotrice as the Lady Chatterley figure. Introducing it, Ernie explained that his play "concerns a rich, titled young lady who is deprived of love, caused by her husband falling into a combine harvester, which unfortunately makes him impudent".

In the 1998 film Pleasantville, a film that narrativizes conservative cultural nostalgia for the 1950s as a response to the sexual revolution of the 1960s, Jennifer (played by Reese Witherspoon) reads Lady Chatterley's Lover as a principal part of her character development, causing her to become "colored", the film's metaphor for personal growth and transformation.

A 2008 episode of Mad Men saw Joan, Peggy, and other women in the office discuss Lady Chatterley's Lover. It is spoken of in scandalous tones and Joan remarks that the pages 'just fall open' to presumably the most salacious portions of the book.

A 2020 episode of Ghosts had Fanny (a ghost and the former lady of the manor from the Edwardian era) reading the book, and then developing feelings for Mike (the alive husband of her descendant who she otherwise thinks of as uncouth and uncultured) as he does garden work. Any pretenses of a full relationship are dashed, however, when she sees him slovenly eating a plate of nachos.

Editions

 * First published privately in 1928 in Florence, with assistance from Pino Orioli, and in France in 1929. A private edition was issued in Australia by Inky Stephensen's Mandrake Press in 1929.
 * Soon after the 1928 publication and suppression, an unexpurgated Tauchnitz edition appeared in Europe. Jock Colville, then 18, purchased a copy in Germany in 1933 and lent it to his mother Lady Cynthia, who passed it on to Queen Mary, only for it to be confiscated by King George V.
 * In 1946, Victor Pettersons Bokindustriaktiebolag Stockholm, Sweden published an English hardcover edition, copyright Jan Förlag. It is marked "Unexpurgated authorized edition". A paperback edition followed in 1950.
 * These two books, The First Lady Chatterley and John Thomas and Lady Jane, were earlier drafts of Lawrence's last novel.
 * Lawrence's 1927 version, first issued in English in 1972.
 * Lawrence's 1927 version, first issued in English in 1972.

Books
Lady Chatterley's Lover was re-imagined as a love triangle set in contemporary Silicon Valley, California in the novel Miss Chatterley by Logan Belle (the pseudonym for American author Jamie Brenner) published by Pocket Star/Simon & Schuster, May 2013.

Film and television
Lady Chatterley's Lover has been adapted for film and television several times:
 * L'Amant de lady Chatterley (1955), French drama film starring Danielle Darrieux, was banned in the United States because it "promoted adultery", but was released in 1959 after the Supreme Court reversed that decision.
 * Edakallu Guddada Mele (On top of Edakallu Hill) (1973), an Indian Kannada language film starring Jayanthi and directed by Puttanna Kanagal, was loosely based on the Kannada novel of the same name which was inspired by Lady Chatterley's Lover.
 * Sharapancharam (Bed of Arrows) (1979), an Indian Malayalam language film starring Jayan and Sheela and directed by Hariharan, was loosely based on Lady Chatterley's Lover.
 * Lady Chatterley's Lover (1981), French film directed by Just Jaeckin and produced by Menahem Golan and Yoram Globus, starred Sylvia Kristel and Nicholas Clay. (Jaeckin had previously directed Kristel in Emmanuelle, which was released in 1974.)
 * Lady Chatterley (1993), is a BBC Television serial which was directed by Ken Russell for BBC Television; it starred Joely Richardson and Sean Bean and incorporated some material from the longer second version John Thomas and Lady Jane.
 * Milenec lady Chatterleyové (1998) is a Czech television version directed by Viktor Polesný and starring Zdena Studenková (Constance), Marek Vašut (Clifford), and Boris Rösner (Mellors).
 * Ang Kabit ni Mrs Montero (Mrs. Montero's Paramour, 1998) is a Filipino soft-core film adapted by director Peque Gallaga.
 * The French director Pascale Ferran filmed a French-Language version (2006) with Marina Hands as Constance and Jean-Louis Coulloc'h as the gamekeeper, which won the Cesar Award for Best Film in 2007. Marina Hands was awarded best actress at the 2007 Tribeca Film Festival. The film was based on John Thomas and Lady Jane, Lawrence's second version of the story. It was broadcast on the French television channel Arte on 22 June 2007 as Lady Chatterley et l'homme des bois (Lady Chatterley and the Man of the Woods).
 * Lady Chatterley's Daughter (Lady Chatterley's Ghost) (2011) an American film. Director/Fred Olen Ray. Actress/Cassandra Cruz.
 * Lady Chatterley's Lover (2015) is a BBC television film starring Holliday Grainger, Richard Madden and James Norton. Produced by Hartswood Films and Serena Cullen Productions, it was first broadcast on BBC One on 6 September 2015. It was released by Netflix as a drama series and stars Madden as the eponymous lover, Oliver Mellors; Grainger as Lady Chatterley; and Norton as Lady Chatterley's disabled husband, Sir Clifford Chatterley.
 * Lady Chatterley's Lover (2022) is a film directed by Laure de Clermont-Tonnerre and starring Emma Corrin and Jack O’Connell as Constance Reid and Mellors, respectively. It also featured Matthew Duckett as Sir Clifford Chatterley. It was released on 25 November 2022 in UK cinemas and on 2 December 2022 on Netflix.

The character of Lady Chatterley appears in Fanny Hill Meets Lady Chatterly (1967), Lady Chatterly Versus Fanny Hill (1974) and Young Lady Chatterley (1977). Bartholomew Bandy meets her shortly after her 1917 marriage in the novel Three Cheers for Me (1962, revised 1973) by Donald Jack.
 * Use of character
 * Use of character

Radio
Lady Chatterley's Lover has been adapted for BBC Radio 4 by Michelene Wandor and was first broadcast in September 2006.

Theatre
Lawrence's novel was successfully dramatised for the stage in a three-act play by British playwright John Harte. Although produced at the Arts Theatre in London in 1961 (and elsewhere later on), his play was written in 1953. It was the only D.H. Lawrence novel ever to be staged, and his dramatisation was the only one to be read and approved by Lawrence's widow, Frieda. Despite her attempts to obtain the copyright for Harte to have his play staged in the 1950s, Baron Philippe de Rothschild did not relinquish the dramatic rights until his film version was released in France.

Only the Old Bailey trial against Penguin Books for alleged obscenity in publishing the unexpurgated paperback edition of the novel prevented the play's transfer to the much bigger Wyndham's Theatre, for which it had already been licensed by the Lord Chamberlain's Office on 12 August 1960 with passages censored. It was fully booked out for its limited run at the Arts Theatre and well reviewed by Harold Hobson, the prevailing West End theatre critic of the time.

A new stage version, adapted and directed by Philip Breen and produced by the English Touring Theatre and Sheffield Theatres, opened at the Crucible Theatre in Sheffield, between 21 September and 15 October 2016, before touring the UK until November 2016.

Parody
MAD Magazine published in 1963 a spoof called Lady Chatterley's Chopped Liver And Other Recipes.

Comedian Spike Milligan parodied the story in his According to Spike Milligan series, under the title of D. H. Lawrence's John Thomas and Lady Jane – Part II of Lady Chatterley's Lover.

title: Lady Chatterley's Lover


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Anhée

Anhée (Anhêye) is a municipality of Wallonia located in the province of Namur, Belgium.

On 1 January 2006 the municipality had 6,934 inhabitants. The total area is 65.67 km2, giving a population density of 106 inhabitants per km2.

The municipality consists of the following districts: Anhée, Annevoie-Rouillon, Bioul, Denée, Haut-le-Wastia, Sosoye and Warnant.

The village of Bioul contains Vaxelaire Castle (Château Vaxelaire). Maredsous Abbey and Maredret Abbey are located near Denée.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Anhée


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Talk:Caramilk

Requested move 6 March 2023

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: Withdrawn by proposer. Unanimous consensus that joint title would be clunky. Trystan (talk) 13:49, 8 March 2023 (UTC)

Caramilk → Caramilk and Caramello – The article currently covers three topics: (1) the Canadian Cadbury Caramilk bar, (2) a very similar product sold in other countries as Cadbury Caramello, and (3) the entirely different Australian Cadbury Caramilk bar. I think (1) and (2) are clearly a case where "closely related or complementary concepts are most sensibly covered by a single article," and Caramello already redirects here. The proposed move would clearly reflect that scope. Arguably, topic (3) should be in a separate article, as it is a fundamentally different product that happens to share the same name, but there isn't enough content for a standalone article, and I think it all works well enough as a single article. is what I would propose it look like following the move, which I think is clearer than the current version. Trystan (talk) 18:14, 6 March 2023 (UTC)
 * Comment: The proposed title seems a bit awkward. In some cases more than one topic or topic variation is discussed in a single article without mentioning all of them in the title, so I'm not so sure it would be necessary to change the article name. — BarrelProof (talk) 02:33, 7 March 2023 (UTC)
 * I would be fine with the broader scope at the current title, but proposed the move in response to the section above.--Trystan (talk) 03:51, 7 March 2023 (UTC)
 * I have rephrased the lead section; let's see how people react to that. — BarrelProof (talk) 04:21, 7 March 2023 (UTC)

 * Comment: I'm not particularly opposed to the move but I agree the new title would be rather clunky. I also don't think the current wording is in any way confusing--the lede mentions the similar Caramello products and they each have their own section. Barry Wom (talk) 11:02, 7 March 2023 (UTC)
 * The issue I was trying to address with is to clarify that the Caramello bars aren't simply covered incidentally as a related topic, but are themselves within the scope of the article. The article  covered only topic (1), the Canadian Caramilk bar, with all other bars discussed as "Similar products". It was expanded a year and a half ago to also cover (3), the Australia/NZ version of Caramilk, on an equal footing with topic (1). But, despite sharing the same name, topic (3) is less directly related to topic (1) than topic (2), the Caramello bars. Depending on how narrowly or broadly we want to define the article's scope, it could be just (1); (1) and (2); or (1) (2) and (3); but just (1) and (3) doesn't really work.--Trystan (talk) 14:18, 7 March 2023 (UTC)

 * Oppose per above comments. Splitting Caramello is a possibility, but I don't see a problem with the current title. 162 etc. (talk) 17:24, 7 March 2023 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.

Look at the label - Clearly states CANDY Bar, because it legally is a CANDY bar, not a chocolate bar.
This was long decided in the Talk section years ago. Not sure why it was removed.

https://assets.shop.loblaws.ca/products/20691626/b2/en/front/20691626_front_a06_@2.png 2604:3D08:6380:6E0:35F0:E7A2:292C:4C01 (talk) 08:09, 4 August 2023 (UTC)

 * I reverted it because, the "Canada" section of the article already covers the fact that it's sold as a candy bar there (i.e. it says are labelled as candy since only solid chocolate bars may be labelled as chocolate bars in Canada). Also, calling it a candy bar instead of a chocolate bar fits in less with Wikipedia's neutral point of view policy, as the majority of sources/references, especially secondary sources, like the ones used in the article, call it a chocolate bar and not a candy bar. We should be giving weight to the majority viewpoints and not the minority ones. Anyways, to make things clearer about this, I added "labelled as a candy bar" to the top of the article where it says The Canadian version of Caramilk is a milk chocolate bar filled with caramel. — AP 499D25  (talk)  08:39, 4 August 2023 (UTC)

 * Also check out what wrote in the discussion thread Chocolate bar revisited in the first archive of this talk page. — AP 499D25   (talk)  09:05, 4 August 2023 (UTC)
 * It's not labelled as a "Candy Bar", it is labelled as "Candy". I've updated it, but I don't think the statement belongs in the lead at all, since we haven't provided any context for what that means or why it is relevant.--Trystan (talk) 15:03, 4 August 2023 (UTC)

title: Talk:Caramilk


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Beauraing

Beauraing (Biarin) is a city and municipality of Wallonia located in the province of Namur, Belgium. On January 1, 2018, Beauraing had a total population of 9,160. The total area is 174.55 km2, giving a population density of 52 inhabitants per km2.

History
The municipality of Beauraing was created in 1977 and consists of the following districts: Beauraing, Baronville, Dion, Felenne, Feschaux, Focant, Froidfontaine, Honnay, Javingue, Martouzin-Neuville, Pondrôme, Vonêche, Wancennes, Wiesme and Winenne.

Beauraing is a place of pilgrimage for Catholics ever since five children and young adults reported 33 apparitions of the Blessed Virgin Mary between November 29, 1932, and January 3, 1933. The sobriquet applied to these apparitions is Our Lady of Beauraing, the Virgin of the Golden Heart. The apparitions are among those which are officially sanctioned by the Church.

On June 17, 2021, the town was hit by a small tornado, damaging 92 houses and injuring several people.

title: Beauraing


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Bièvre, Belgium

Bièvre (Bive) is a municipality of Wallonia located in the province of Namur, Belgium.

On 1 January 2006 the municipality had 3,151 inhabitants. The total area is 109.59 km2, giving a population density of 29 inhabitants per km2.

The municipality consists of the following districts: Bièvre, Baillamont, Bellefontaine, Cornimont, Graide, Gros-Fays, Monceau-en-Ardenne, Naomé, Oizy, and Petit-Fays.

title: Bièvre, Belgium


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Ciney

Ciney (Cînè) is a city and municipality of Wallonia located in the province of Namur, Belgium. As of 2018, Ciney had a total population of 16,439. The total area is 147.56 km2 which gives a population density of 111 inhabitants per km2.

Administrative divisions
The municipality consists of the following districts: Achêne, Braibant, Chevetogne, Ciney, Conneux, Leignon, Pessoux, Serinchamps, and Sovet, along with a number of villages, including Chapois.

Economy
Several beers from the city are now brewed by Alken-Maes and still bear the name: Ciney Blonde, Ciney Brown, and Ciney Special. Those beers were first brewed in 1978.

History
Ciney was also previously known as Chiney in English. The city was damaged by a heavy storm on 14 July 2010. The bell tower, the city's symbol and also Ciney's beer symbol, collapsed on its nave. No injuries were reported. Reconstruction took more than a year and cost some million euros.

Personalities
Ciney is the city of the favorite civilian of your rappers: Arthur aka the gaseous genius. The young balloonist made his city known to the general public through the series High & Fines Herbes by rappers Caballero & JeanJass.

Education
Ciney has 2 Catholic secondary schools and 2 state secondary schools. The Technobel Competence center, an information technology and communications training centre, is located in Ciney.

Healthcare
Ciney hosts the Sainte-Marie Medical Center of the CHU UCLouvain Namur university hospital.

Notable people

 * Erwin Drèze, comic book artist
 * Patrick Dupriez, politician
 * Catherine Fonck, nephrologist and politician
 * Philippe Mahoux, politician

title: Ciney


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Dinant

Dinant is a city and municipality of Wallonia located in the province of Namur, Belgium. On the shores of river Meuse, in the Ardennes, it lies 90 km south-east of Brussels, 30 km south-east of Charleroi and 30 km south of the city of Namur. Dinant is situated 20 km north of the border with France.

The municipality consists of the following districts: Anseremme, Bouvignes-sur-Meuse, Dinant, Dréhance, Falmagne, Falmignoul, Foy-Notre-Dame, Furfooz, Lisogne, Sorinnes and Thynes.

Geography
Dinant is positioned in the Upper Meuse valley, at a point where the river cuts deeply into the western Condroz plateau. Sited in a steep sided valley, between the rock face and the river. The original settlement had little space in which to grow away from the river, and it therefore expanded into a long, thin town, on a north–south axis, along the river shore. During the 19th century, the former Île des Batteurs (Drummers' Island) to the south was attached directly to the town when a branch of the Meuse was filled in.

Dinant has been enriched by the agricultural opportunities presented by the fertile land on the plateau that overlooks it. Within the town, brassware production is a traditional craft that has benefited from the presence of the broad and, at this point, easily navigable river which has facilitated easy delivery of the raw materials and ready distribution of the resulting products of the artisans' workshops. Another traditional source of wealth is provided by the limestone cliffs overlooking the town, which supported a high-end quarrying industry, producing black marble and bluestone, and whose distribution also benefited from the proximity of the relatively wide and deep navigable river.

Origins to the 10th century
The name Dinant comes from the Celtic Divo-Nanto, meaning "Sacred Valley" or "Divine Valley"; it can also be translated as "Celestial Gorge" or "Luminous Gorge" (as in modern Welsh Nant Dwyfol).

The Dinant area was already populated in Neolithic, Celtic, and Roman times. The first mention of Dinant as a settlement dates from the 7th century, when Perpète of Maastricht, Bishop of Tongeren, moved his principal residence from Maastricht to Dinant and founded the church of Saint Vincent. In 870, Charles the Bald gave part of Dinant to be administered by the Count of Namur, the other part by the Bishopric of Tongeren, which was by that time based in Liège.

In the 11th century, the emperor Henry IV granted several rights over Dinant to the Prince-Bishopric of Liège, including market and justice rights. From that time on, the city became one of the 23 ‘‘bonnes villes’’ (or principal cities) of the Prince-Bishopric. The first stone bridge on the Meuse and major repair to the castle, which had been built earlier, also date from the end of the 11th century. Throughout this period, and until the end of the 18th century, Dinant shared its history with its overlord Liège, sometimes rising in revolt against it, sometimes partaking in its victories and defeats, mostly against the neighbouring County of Namur.

Late Middle Ages
Its strategic location on the Meuse exposed Dinant to battle and pillage, not always by avowed enemies: in 1466, Philip the Good, Duke of Burgundy, uncle of Louis de Bourbon, Prince-Bishop of Liège, and Philip’s son Charles the Bold punished an uprising in Dinant during the Liège Wars, by casting 800 burghers into the Meuse and setting fire to the city. The city's economic rival was Bouvignes, downriver on the opposite shore of the Meuse.

Late Medieval Dinant and Bouvignes specialised in metalwork, producing finely cast and finished objects in a silvery brass alloy, called dinanderie and supplying aquamaniles, candlesticks, patens and other altar furniture throughout the Meuse valley (giving these objects their cautious designation "Mosan"), the Rhineland and beyond.

Henri Pirenne gained his doctorate in 1883 with a thesis on medieval Dinant.

The Old Regime and World War I
In the 16th and 17th centuries wars between France and Spain, Dinant suffered destruction, famine and epidemics, despite its neutrality. In 1675, the French army under Marshal François de Créquy occupied the city. Dinant was briefly taken by the Austrians at the end of the 18th century. The whole Bishopric of Liège was ceded to France in 1795. The dinanderies fell out of fashion and the economy of the city now rested on leather tanning and the manufacture of playing cards. The famous couques de Dinant also appeared at that time.

The city suffered devastation again at the beginning of the First World War. On 15 August 1914, French and German troops fought for the town in the Battle of Dinant; among the wounded was Lieut. Charles de Gaulle. On 23 August, 674 inhabitants were summarily executed by Saxon troops of the German Army – the biggest massacre committed by the Germans in 1914. Within a month, some five thousand Belgian and French civilians were killed by the Germans at numerous similar occasions.

World War II
During World War II, the city was again captured by German forces during the Invasion of Belgium. German forces of Erwin Rommel's 7th Panzer Division took the town on 13 May 1940, after crossing the River Meuse and defeating the French forces defending the town.

Sights

 * The city's landmark is the Collegiate Church of Notre Dame de Dinant. It was rebuilt in Gothic style on its old foundations after falling rocks from the adjacent cliff partially destroyed the former Romanesque style church in 1227. Several stages for a pair of towers on the west end were completed before the project was abandoned in favour of the present central tower with a famous onion dome and facetted multi-staged lantern.
 * Above the church rises the vertical flank of the rocher surmounted by the fortified Citadel of Dinant that was first built in the 11th century to control the Meuse valley. The Prince-Bishopric of Liège rebuilt and enlarged it in 1530; the French destroyed it in 1703. Its present aspect, with the rock-hewn stairs (408 steps), is due to rebuilding in 1821, during the United Kingdom of the Netherlands phase of Dinant's chequered history. A cable car is available during the high season to take visitors from the Collegiate Church of Notre-Dame to the top of the Citadel.
 * Apart from the main block is the Rocher Bayard that was said to have been split by giant hoof of Bayard, the giant horse carrying the four sons of Duke Aymon on their legendary flight from Charlemagne through the Ardennes, told in Les Quatre Fils Aymon, a famous 12th-century chanson de geste. In reality the rock has been divided by the soldiers of Louis XIV after the conquest of Dinant in order to construct a road alongside the Meuse.
 * The house of Adolphe Sax, inventor of the saxophone located in the street of the same name. A little museum, the Mr Sax's House, pays attention to his life and saxophones.
 * Grotte de Dinant La Merveilleuse, a series of caves featuring impressive stalagmite and stalactite structures is situated a short distance to the south west of the town.

Gastronomic culture

 * The Flamiche dinantaise is the local version of quiche made with a cheese called "boulette de Romedenne".
 * The couque de Dinant is Europe's hardest biscuit, with a honey-sweetened flavour that is impressed with a carved wooden mould before baking.
 * The beer brand Leffe originates from Dinant and there is a museum there.

Transport
Dinant's railway station is on the left bank of the river. There is hourly train service to Brussels, about a 90-minute ride.

Healthcare
Dinant hosts the Saint-Vincent and Saint-Anne sites (Centre Hospitalier de Dinant) of the CHU UCLouvain Namur university hospital, the provinces' largest employer and serving as teaching hospital for the University of Louvain.

Notable people

 * David of Dinant, philosopher (birth in Dinant is uncertain, 12th century)
 * Joachim Patinir or Patenier, 1485–1524, the first specialist landscape painter
 * Antoine Joseph Wiertz, painter (19th century)
 * Adolphe Sax, inventor of the saxophone and Saxtuba (19th century)
 * Georges Pire, priest of the Dominican Order and Nobel Peace Prize recipient for 1958
 * André-Eugène Pirson (Dinant, 21 March 1817-Brussels, 28 December 1881), governor of the National Bank of Belgium (NBB) from 1877 until 1881
 * André Buzin, artist and stamp designer (20th century)
 * Alex Miskirtchian, boxer

Twin cities and twinning

 * $\phi$: Cagayan de Oro
 * 🏴: Hoddesdon, England
 * Chios
 * 🇫🇷: Dinan
 * 🇫🇷: Disneyland Paris

title: Dinant


text:
Gedinne

Gedinne (Djedene) is a municipality of Wallonia located in the province of Namur, Belgium.

On 1 January 2006 the municipality had 4,405 inhabitants. The total area is 151.56 km2, giving a population density of 29 PD/km2.

It is situated in the Ardennes east of Meuse valley. The western limit of the municipality is the French border.

The municipality consists of the town of Gedinne and eleven villages: (number of inhabitants in brackets)
 * Gedinne (1,124, administrative centre)
 * Bourseigne-Neuve (137)
 * Bourseigne-Vieille (106)
 * Houdremont (233)
 * Louette-Saint-Denis (331)
 * Louette-Saint-Pierre (270)
 * Malvoisin (298)
 * Patignies (242)
 * Rienne (736)
 * Sart-Custinne (169)
 * Vencimont (499)
 * Willerzie	(319)

title: Gedinne


text:
Hamois

Hamois (Hamwè) is a municipality of Wallonia located in the province of Namur, Belgium.

The village is around 25 km south-east of the city of Namur.

On 1 January 2020 the municipality had 7,375 inhabitants. The total area is 76.42 km2, giving a population density of 96.5 inhabitants per km2.

The municipality consists of the following districts: Achet, Emptinne, Hamois, Mohiville, Natoye, Schaltin, and Scy.

Mouffrin Castle in Gemenne and Ry Castle are both in Hamois, and continue to be in the possession of the noble Aspremont-Lynden family.

Multiple other castles, still owned and inhabited by other noble families, are spread all over the municipality. One of them, the Castle of Skeuvre, still owned and inhabited by the de Beaudignies family, is noticeably known as the "Spirou Castle", after Franquin got inspiration from it to create the Champignac castle that is depicted in these comics.

title: Hamois


text:
Hastière

Hastière (Astire) is a municipality of Wallonia located in the province of Namur, Belgium.

On 1 January 2006 the municipality had 5,230 inhabitants. The total area is 56.46 km2, giving a population density of 93 inhabitants per square kilometre.

The municipality consists of the following districts: Agimont, Blaimont, Hastière-Lavaux (location of town hall), Hastière-par-delà, Heer, Hermeton-sur-Meuse, and Waulsort.

Hastière's attractions along the river Meuse include the Romanesque Abbey Church of Saint Peter, a former Benedictine monastery (at Hastière-Lavaux), the Renaissance Castle of Freÿr surrounded by 18th-century classical gardens and facing the rocks of Freÿr (north of Waulsort), and the 17th-century buildings of another former Benedictine monastery (at Waulsort).

title: Hastière


text:
Havelange

Havelange (Havlondje) is a municipality of Wallonia located in the province of Namur, Belgium.

On 1 January 2006 the municipality had 4,844 inhabitants. The total area is 104.73 km², giving a population density of 45 inhabitants per km².

Other centres
Apart from Havelange itself, the municipality also comprises the following districts :
 * Barvaux-Condroz, including the eponymous castle, still owned by the noble Aspremont-Lynden family
 * Flostoy, including the hamlet of Bormenville and its castle
 * Jeneffe
 * Maffe
 * Méan
 * Miécret
 * Porcheresse
 * Verlée

title: Havelange


text:
Houyet

Houyet is a municipality of Wallonia in the province of Namur, Belgium.

On 1 January 2006 the municipality had 4,485 inhabitants. The total area is 122.31 km², giving a population density of 37 inhabitants per km².

The municipality consists of the following districts: Celles, Ciergnon, Custinne, Finnevaux, Hour, Houyet, Hulsonniaux, Mesnil-Église, Mesnil-Saint-Blaise, and Wanlin.

The town of Houyet lies on the river Lesse, some 20 km to the southeast of Dinant.

Town twins

 * 🇫🇷 Rasteau (since 1991)

title: Houyet


text:
Get Carter

Get Carter is a 1971 British gangster film, written and directed by Mike Hodges in his directorial debut and starring Michael Caine, Ian Hendry, John Osborne, Britt Ekland and Bryan Mosley. Based on Ted Lewis's 1970 novel Jack's Return Home, the film follows the eponymous Jack Carter (Caine), a London gangster who returns to his hometown in North East England after his brother's death. Suspecting foul play, and with vengeance on his mind, he investigates and interrogates, regaining a feel for the city and its hardened-criminal element.

Producer Michael Klinger optioned Lewis's novel shortly after its publication and made a deal with the ailing Metro-Goldwyn-Mayer (MGM) to finance and release the film, making Get Carter the last project to be approved by the studio's Borehamwood division before its closure. The production went from novel to finished film in 10 months, with principal photography taking place from July to September 1970 in and around Newcastle upon Tyne, Gateshead and County Durham. Hodges, Klinger and Caine intended to create a more realistic portrayal of violence and criminal behaviour than had previously been seen in British films: Caine, who also served as an uncredited co-producer, incorporated aspects of criminal acquaintances into his characterisation of Carter, while Hodges conducted research into the criminal underworld of Newcastle, in particular the one-armed bandit murder. Cinematographer Wolfgang Suschitzky worked with Hodges to give scenes a naturalistic feel, drawing heavily on their backgrounds in documentary films.

Turning a respectable profit upon its initial UK release, Get Carter initially attracted mixed reviews. Critics begrudgingly appreciated the film's technical achievements and Caine's performance while criticising the complex plot, violence and amorality, in particular Carter's apparent lack of remorse for his actions. American critics were generally more enthusiastic, but the film languished on the drive-in circuit, while MGM focused its resources on producing Hit Man, a blaxploitation-themed remake of the film.

Get Carter eventually garnered a cult following, and further endorsements from directors such as Quentin Tarantino and Guy Ritchie led to the film being critically re-evaluated, with its depiction of class structure and life in 1970s Britain and Roy Budd's minimalist jazz score receiving considerable praise. In 1999, Get Carter was ranked 16th on the BFI Top 100 British films of the 20th century; five years later, a survey of British film critics in Total Film magazine chose it as the greatest British film of all time. A poorly received second remake under the same title was released in 2000, with Sylvester Stallone portraying Jack Carter and Caine in a supporting role.

Plot
Newcastle-born gangster Jack Carter has lived in London for years in the employ of organised crime bosses Gerald and Sid Fletcher. Jack is having an affair with Gerald's girlfriend Anna and plans to escape with her to South America, but he must first return to Newcastle and Gateshead to attend the funeral of his brother, Frank, who died in a purported drink-driving accident. Jack's bosses warn him not to stir up trouble, as they are friendly with the Newcastle mob. Unsatisfied with the official explanation, Jack investigates for himself. At the funeral, Jack meets his teenage niece Doreen, and Frank's evasive mistress, Margaret.

Jack goes to Newcastle Racecourse, seeking his old acquaintance Albert Swift for information about his brother's death, but Swift evades him. Jack encounters another old associate, Eric Paice, who refuses to tell Jack who is employing him as a chauffeur. Tailing Eric leads him to the country house of crime boss Cyril Kinnear. Jack confronts Kinnear but learns little from him; he also meets a glamorous drunken woman, Glenda. As Jack leaves, Eric warns him against damaging relations between Kinnear and the Fletchers. Back in town, Jack is threatened by henchmen who want him to leave town, but he fights them off, capturing and interrogating one to find out who wants him gone. He is told the name "Brumby".

Jack knows Cliff Brumby as a businessman with controlling interests in local seaside amusement arcades. Visiting Brumby's house, Jack discovers the man knows nothing about him and, believing he has been set up, he leaves. The next morning, two of Jack's London colleagues – Con McCarthy and Peter the Dutchman – arrive, sent by the Fletchers to take him back, but he escapes. Jack meets Margaret to talk about Frank, but the Fletchers' men are waiting and pursue him. He is rescued by Glenda, who takes him in her Sunbeam Alpine sports car to meet Brumby at his new restaurant development at the top of a multi-storey car park. Brumby identifies Kinnear as being behind Frank's death, also explaining that Kinnear is trying to take over his business. He offers Jack £5,000 to kill the crime boss, which he refuses.

Jack has sex with Glenda at her flat, where he finds and watches a pornographic film in which Doreen is forced to have sex with Albert. The other participants in the film are Glenda and Margaret. Jack becomes enraged and pushes Glenda's head underwater as she is taking a bath. She tells him the film was Kinnear's and that she thinks Doreen was pulled into the production by Eric. Forcing Glenda into the boot of her own car, Jack drives off to find Albert.

Jack tracks down Albert, who confesses he told Brumby that Doreen was Frank's daughter. Brumby showed Frank the film to incite him to call the police on Kinnear so Eric and two of his men arranged Frank's death. Having extracted this information, Jack fatally stabs Albert. Jack is attacked by the London gangsters and Eric, who has informed Fletcher of Jack and Anna's affair. In the ensuing shootout, Jack kills Peter. As Eric and Con escape, they push the sports car into the river, unaware that Glenda is in the boot. Returning to the car park, Jack finds and beats Brumby before throwing him to his death. He then posts the film to the Scotland Yard vice squad.

Jack abducts Margaret. He telephones Kinnear (who is in the middle of a wild party at his home), telling him that he has the film, and makes a deal for Kinnear to give him Eric in exchange for his silence. Kinnear agrees, sending Eric to an agreed location; however, he subsequently phones an associate. Jack drives Margaret to the grounds of Kinnear's estate, kills her with a fatal injection, and leaves her body there. He then calls the police to raid Kinnear's party.

Jack chases Eric along a beach. He forces Eric to drink a bottle of whisky as Eric had done to Frank, then beats him to death with his shotgun. Having avenged Frank and Doreen, Jack walks along the shoreline, where he is shot dead from a distance by Kinnear's associate.

Cast
There was pressure from MGM to have more big-name American stars in the film, which was successfully resisted by Hodges. As well as Telly Savalas, names posited by Klinger and studio executives were Joan Collins, and someone Hodges described as "the Canadian lead actress in TV's Peyton Place", which is likely a reference to Barbara Parkins. The production also utilised a large number of extras, most of whom were locals who just happened to be on scene when filming was happening. Others were sourced from local casting company Beverley Artistes, which sent everyone registered with it for auditions, one of these being Deana Wilde, who was cast as the pub singer. Several of the company's actors were also in background shots in the film including the casino, streets, bars and the police raid scene.
 * Michael Caine as Jack Carter. Hodges wrote the screenplay with Ian Hendry in mind for Carter, but learned that Michael Klinger had already signed up Caine for the role. With the backing of a major studio, Klinger was keen to secure a big name for the lead, and Caine was very prominent at the time, having starred in Alfie, The Italian Job and The Ipcress File. Hodges was surprised that a star of Caine's stature would want to play such a thoroughly unlikeable person as Carter. Giving his reasons for wanting to be involved with the film, the actor said "One of the reasons I wanted to make that picture was my background. In English movies, gangsters were either stupid or funny. I wanted to show that they're neither. Gangsters are not stupid, and they're certainly not very funny". He identified with Carter as a memory of his working-class upbringing, having friends and family members who were involved in crime and felt Carter represented a path his life might have taken under different circumstances: "Carter is the dead-end product of my own environment, my childhood; I know him well. He is the ghost of Michael Caine". He made subtle changes to Hodges' depiction of Carter in the script, cut out pleasantries and gave him a cold, hard edge; closer to Lewis's original envisioning of the character. Although he is not credited as such in the film, Caine has been acknowledged in retrospect as a co-producer. By a strange coincidence, Caine's stand-in on the film was a man called Jack Carter.
 * Ian Hendry as Eric Paice. Hendry had previously been cast by producer Klinger in Roman Polanski's Repulsion, and was Hodges' first choice to play Carter, but by 1970 his career was rapidly declining. Hendry's alcoholism and poor physical condition were apparent on set in Newcastle, and his envy at the success of his contemporary Caine was exacerbated by his drinking. Hodges and Caine used his animosity towards Caine to their advantage to create extra tension in the scenes between Carter and Paice.
 * John Osborne as Cyril Kinnear, Jack's main adversary. Osborne, a famous playwright, was an unusual choice of actor; he was suggested by Hodges' agent. The writer enjoyed the change, and saw it as a way to erase the image in the public's mind of him as an angry young man. Osborne had never played card games before and practised poker before the shoot to lend realism to the gambling scene. Osborne's portrayal was a contrast to the description in Lewis's novel of Kinnear as an uncultured, corpulent spiv, giving him an urbane and relaxed demeanour, his delivery being so relaxed and quiet that it was difficult for the sound recordist to pick up, but Hodges liked the "menace in that quietness".
 * Britt Ekland as Anna. Ekland was cast as the leading lady of the film, as she was a prominent sex symbol of the time and would have already been familiar to US audiences through her work in The Night They Raided Minsky's and Stiletto. Accordingly, her minor role in the film was overemphasised in the publicity. Ekland was afraid of becoming typecast, having already played two gangster's molls before Carter. She was also reluctant to take the part as she did not want to take her clothes off; however, she had financial problems at the time as a result of bad investment decisions by her accountant. She was later happy that she had been involved with the project.
 * Bryan Mosley as Cliff Brumby. MGM executives initially wanted Telly Savalas for the part of the "big man", but were impressed by Coronation Street actor Mosley's performance in fight scenes in Far from The Madding Crowd. A devout Roman Catholic, Mosley was concerned about taking part in such a violent film with depictions of criminal behaviour, and consulted his priest over the moral implications.
 * George Sewell as Con McCarty. Sewell was the man who introduced Barbara Windsor to Charlie Kray. He grew up in working-class Hoxton and had come to acting late when, in 1959, he joined Joan Littlewood's Theatre Workshop. A well-known face on British television in the 1960s, his sandblasted features and shifty, haunted looks made him ideal for playing villainous characters or hard-bitten detectives. He seemed ideally cast as a London gangster colleague of Carter's. After Carter, Sewell became more known for playing policemen rather than villains.
 * Tony Beckley as Peter. Lewis depicted Peter as a misogynistic homosexual in his novel; these elements were not emphasised in the film, although the character is flamboyant and camp. Beckley had developed a specialism of playing sadistic criminals, so his part in Carter was somewhat similar to his role of "Camp Freddy" alongside Caine in The Italian Job.
 * Glynn Edwards as Albert Swift. Like Sewell, Edwards was an apprentice of Joan Littlewood's Theatre Workshop who had come to acting in his 30s. He had previously appeared alongside Caine in Zulu and The Ipcress File. After the film Edwards found work as a character actor and appeared regularly in the TV show Minder.
 * Alun Armstrong as Keith. This was Armstrong's screen debut. The themes of Get Carter echo to a certain extent those of Armstrong's better-known role 25 years later in BBC drama Our Friends in the North. He wrote a letter to MGM when he learned it was making the film in Newcastle, and he was invited to meet director Mike Hodges, who wanted to cast local actors.
 * Bernard Hepton as Thorpe. Bradford-born Hepton was cast by Hodges as Kinnear's nervous messenger.
 * Petra Markham as Doreen Carter. Petra Markham was a 24-year-old experienced theatre actress when she was asked to play the role of Carter's 16-year-old niece. Her appearance in only four scenes in the film meant she could balance the film work with appearing at the Royal Court and her role in the television series Albert and Victoria. She went on to play the unfortunate Rose Chapman in EastEnders.
 * Geraldine Moffat as Glenda. Moffatt was an experienced actress who had trained at the Bristol Old Vic Theatre School. She attracted Hodges' attention not just for her good looks but for her work on Alun Owen's television plays Stella and Doreen.
 * Dorothy White as Margaret. White had a successful career as a television actress and was particularly well known for Z-Cars, but the part of Margaret was her first credited cinematic role (the only other being a part in the 1955 film Touch & Go). She had previously worked with Mike Hodges on the television play Suspect.
 * Rosemarie Dunham as Edna, Carter's landlady. Although she had appeared in The Avengers and A Family at War on television, this was Scottish-born Dunham's film debut.
 * John Bindon as Sid Fletcher. He was the son of a London cab driver who was discovered by Ken Loach in a pub. As a young man Bindon had been in and out of borstal, and spent most of his adult life associating with criminals, so he was ideally suited to play a gangland boss, despite being young, having intimate knowledge of that world. In the late 1970s his career suffered as he became entangled in accusations of protection racketeering in Fulham and was acquitted of murder at the Old Bailey.
 * Terence Rigby as Gerald Fletcher, one of the London crime boss brothers. Rigby was another actor Hodges cast from his familiarity in television police drama.

Mike Hodges recruited a band of experienced character actors to play the small supporting roles. Godfrey Quigley was cast as Eddie, a colleague of Frank Carter's. Kevin Brennan appears as Harry the card-player. Ben Aris, who plays one of the architects, had previously appeared in such films as if...., The Charge of the Light Brigade and Hamlet.

Carl Howard's character of the assassin, "J", is only identified by the initial on his ring, in his only film role, and an appropriate mystery surrounds his real identity. His name does not appear on the credits of some prints. Mike Hodges explained that Howard was an extra in his TV film Rumour, and the director gave him a line to say, but another extra was wrongly credited. Hodges promised he would make it up to him and cast him in Carter, but his name was missed off some of the original prints. When the film credits were printed in the Radio Times and TV Times, Howard was also trimmed. Hodges said in 2002 that "Carl and credits don't seem destined for each other".

Development
In the late 1960s, a relaxation in film censorship produced an increase in dark, uncompromising films, with many directors pushing the boundaries of acceptability. Get Carter was a film that explored this freedom. The project went from concept to finished film in just 10 months.

In 1969, producer Michael Klinger devised plans for a gangster film to capitalise on public interest in the British criminal underworld after the Kray Twins' convictions. Klinger was invited to view a first print of Peter Walker's Man of Violence (1969) and was unimpressed, telling the director "I'm going to make a gangster film, but it's going to cost a lot more than this and it's going to be better". After searching many publishers for material to adapt into a film, Klinger purchased the rights to Ted Lewis' novel Jack's Return Home. Andrew Spicer has written that "he [Klinger] sensed its potential to imbue the British crime thriller with the realism and violence of its American counterparts".

Klinger had been approached in 1969 by another producer, Nat Cohen, to make films for Metro-Goldwyn-Mayer (MGM). In financial trouble and shutting down its British operations, MGM was in the process of closing its British studios at Borehamwood and was looking to make smaller-budget films to turn a profit. At this time Klinger's friend Robert Littman had been appointed head of MGM Europe and so Klinger took his proposal to him. MGM agreed to a reasonable but below-average budget of 750,000 (there is some dispute as to whether this figure refers to dollars or pounds) for the production. Within months of agreeing to the deal MGM had pulled out of the UK. Klinger had seen Mike Hodges' television film Suspect (1969) and immediately decided he was the ideal candidate to direct his new project. Hodges had also previously worked on current affairs programme World in Action, the arts programme Tempo and a 1968 children's television serial, The Tyrant King, and all these past experiences informed his approach to his film debut.

Klinger contacted Hodges on 27 January 1970 with a copy of Jack's Return Home and contracted him to write and direct the film, paying him a flat fee of £7,000 (£135,700 in 2024) for his services. Hodges' original working title for the film was Carter's The Name. Steve Chibnall writes: "his treatment retained the essential structure of Lewis's novel with its strong narrative drive, but introduced some minor changes to characterisation and more fundamental alterations to narratology". Given that Ted Lewis had not specified where his novel was set, Hodges felt free to relocate the story to a place he was familiar with, considering Grimsby, Lowestoft, Hull and North Shields before deciding on Newcastle upon Tyne. Hodges said he was influenced in his writing by the works of Raymond Chandler and Hollywood B-movies such as Kiss Me Deadly, because they showed "how to use the crime story as an autopsy on society's ills". He did not, however, employ a traditional noir technique of using a voiceover to expose the character's inner feelings. He also dispensed with flashbacks to Carter's youth featured in the novel which explored his relationship with his brother Frank, streamlining the plot to a linear narrative spanning a single weekend. As Chibnall writes: "The immediate consequence was the loss of the insights into Carter's motivations provided by his memories of boyhood and his relationships with brother Frank and delinquent gang leader Albert Swift. Also lost was the backstory of Carter's dealings with Eric Paice during their time as rival gangsters in London, in particular, Eric's violent treatment of Carter's lover Audrey (Anna in the screenplay) the memory of which fuels Carter's hatred."

The significance of the double-barrelled shotgun as Carter's choice of weapon (which in the novel symbolises family ties and Carter's memories of more innocent times hunting with his brother) was lost in the film adaptation.

Carter's killing of Brumby and his own assassination were further alterations from the novel, emphasising the film's parallels with revenge tragedy and Carter's role as what Geoff Mayer calls "the moral agent [...] a "knight" forced to dispense his own sense of justice in a corrupt world". However, in his DVD commentary Hodges implies that he did not see Carter as morally any more justified than those he kills, and his death is intended to present his actions to the audience as morally bankrupt and futile: "I wanted him to be dealt with in exactly the same way he dealt with other people. Now that's a sort of Christian ethic in a way [...] That was a prerequisite of the film for me, that the hitman should go [click] and that's it". Hodges' decision to kill off Carter was initially protested by MGM executives, as they wanted the character to survive in the event that the film proved successful enough to warrant a sequel.

Pre-production
Locations along the east coast of England had been scouted by Hodges and Klinger in the spring of 1970, to find a landscape that suggested a "hard, deprived background". Newcastle was selected after Hodges' first choice of Hull proved to be unsuitable. Hodges thoroughly researched the local Newcastle crime scene, adapting the script to make use of settings and incorporating elements of his research into the story. His background at World in Action had made him accustomed to making films based on hard investigation and this informed his approach to Get Carter. One of the first locations which attracted Hodges' attention was the Trinity Square multi-storey car park, which dominated the centre of Gateshead. To Hodges, the car park and the cast iron bridges over the Tyne, "seemed to capture the nature of Jack Carter himself". The car park embodies one of the film's more subtle themes, which is the destruction of an old cityscape and its rebuilding in line with modern Brutalism. Hodges described how wandering alone through the upper structure, he realised how the different levels could be used to reveal the hunter, Carter, and the hunted, Brumby, simultaneously but without either being aware of the other – adding to the suspense. The shopping centre and car park were closed in early 2008 and demolished in late 2010.

The location for Cyril Kinnear's house, Dryderdale Hall, near Hamsterley, Bishop Auckland, provided a real-life connection with organised crime. It was the recently vacated country house of North East fruit machine businessman Vince Landa, who had fled the country in 1969 after the murder of his right-hand man Angus Sibbett, the so-called one-armed bandit murder. Many believed the crime was part of a failed attempt by the Kray twins to gain control of the Newcastle underworld. Michael Klinger and the MGM publicity spokesman dismissed the use of the location as mere coincidence; however, Hodges was aware of the significance of the house and chose it deliberately. Steve Chibnall writes "It proved a perfect location, wreaking [sic] of authenticity and full of useful details such as the cowboys and Indians wallpaper [...] the African shield and crossed spears on the wall of the crime lord's living room". The Landa case also is referenced at the start of the film with a shot of a newspaper bearing the headline "Gaming Wars". Other locations in Newcastle and Gateshead, Northumberland and County Durham were also used.

Filming
Principal photography took place in the North East between 17 July and 15 September 1970. Hodges favoured the use of long focal length lenses (as he had used previously on Rumour) in many scenes to create a naturalistic documentary feel, especially in crowd scenes. The film was shot in Metrocolor, which was MGM's trade name for films processed at its Eastmancolor laboratory. This lab processed Kodak's Eastman Color Negative, so it is most likely the film was shot on this stock. Asked to comment on what he was aiming for in the look of the film, cinematographer Wolfgang Suschitzky said "The camera work on it [...] it was very influenced by Mike Hodges who has a very good eye for setups and he of course conferred with his operator and myself, but he influenced all of us, and much of the good look is due to him, I confess. My main task was lighting on location, very moderately, and waiting for the right daylight and setting the exposure on the lens". In the first week of shooting in Newcastle, the ACTT called the crew out on a one-day strike. At the advice of Richard Lester, Hodges and his assistant director stayed at a separate hotel to the rest of the cast and crew, which enabled him to have some respite from the production after the shooting day was done. Klinger was present on set for much of the film shoot. However, Hodges said he encountered very little interference from the producer. At one point Klinger and Caine asked if Hodges might work in a "chase sequence", but he persuaded them that it would draw too many comparisons with Bullitt (a chase sequence between Carter and the London gangsters is mentioned in the shooting script). Hodges tried to rehearse the racecourse scene between Caine and Hendry in their hotel the night before shooting, but "Hendry's drunken and resentful state forced Hodges to abandon [the] attempt". Hodges described Caine as "a complete dream to work with". Caine only lost his temper once on set, during the very tense and emotional day filming in Glenda's flat, when the focus puller ruined his first take. Caine apologised immediately.

The most complicated scene to shoot was Kinnear's game of cards. There are four simultaneous conversations, with a lot of plot exposition and the introduction of two important characters, Kinnear and Glenda. 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. Chibnall says that Hodges regretted not rehearsing the scene more thoroughly.

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 Mosley over the side onto mattresses; one shot of a dummy falling; and one of the body of Brumby on top of a crushed car.

Carter's climactic pursuit of Eric used an amalgamation of two locations spaced 35 mi apart: Blyth staithes and Blackhall Beach near Blackhall Colliery. The chase scene was shot in reverse, with Hodges filming Eric's death scene first because of Hendry's poor condition, Hodges being worried that he would be too out of breath to play the death scene after running. 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 film shows the beach black with coal spoilings, dumped there by the mine's conveyor system. The conveyor, a common sight on the East Durham coast, was known locally as The Flight. In the early 2000s, £10 million was spent removing these conveyors and the concrete towers, and cleaning tonnes of coal waste from the beaches of East Durham. The cleaning programme was known as Turning the Tide.

Post-production and music
Klinger was a hands-on producer who remained present throughout 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 [...] how much he contributed". 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 film's music was composed by Roy Budd, a jazz pianist and composer, who had previously worked on soundtracks for Soldier Blue and Flight of the Doves. Aside from its score, Budd also composed three songs: "Looking For Someone", "Love Is A Four Letter Word" (with lyrics by Jack Fishman) and "Hallucinations". The theme (otherwise known as "Carter Takes a Train"), the best-known piece from the film, was played by Budd and the other members of his jazz trio, Jeff Clyne (double bass) and Chris Karan (percussion), and was recorded on a budget of £450 (£8,700 in 2024). The musicians recorded the soundtrack live, direct to picture, playing along with the film. To save time and money Budd did not use overdubs, simultaneously playing a real harpsichord, a Wurlitzer electric piano and a grand piano. Budd described the experience as "uncomfortable, but it sounded pleasant". The theme tune features the sounds of the character's train journey from London to Newcastle.

As Carter drives away from the flats, with Glenda in the boot of the car, the tyres make a screeching sound. This was later sampled by Vangelis, who used it on the 1981 Jon and Vangelis track The Friends of Mr Cairo.

The theme was released as a 7" vinyl single by Pye Records in 1971, titled simply Carter and backed with "Plaything", another piece composed for the soundtrack. Original copies of the record are much sought after by collectors and sell for around £100. The soundtrack—including pieces not used in the film—was originally only available in its entirety in Japan, where it was released on Odeon Records. It was released in the UK in 1998 by the Cinephile label, a subsidiary of Castle Communications. In 2012, the theme was included on the Soul Jazz Records compilation British TV, Film and Library Composers.

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 1969 Willie Mitchell tune "30-60-90" performed live by the Jack Hawkins Showband, which was the resident band at the Oxford Galleries night club. The pub singer, played by Denea Wilde, performs a cover of "How About You?" by Burton Lane and Ralph Freed, a song more associated with glamorous Hollywood films than the backrooms of Newcastle pubs. The Pelaw Hussars, a local juvenile jazz band and majorette troupe, also appear and perform two numbers, "When The Saints Go Marching In" and "Auld Lang Syne".

Theatrical
The world premiere for Get Carter was held in Los Angeles on 3 February 1971. The film finally opened for general release across the UK on 10 March 1971 and in the US on 18 March, where it was rated 'X' for violence and female nudity, meaning it was for adults only. It was later reclassified as 'R', meaning children under the age of 17 had to be accompanied by an adult. A censored version was released in West Germany on 6 August 1971, with a running time nine minutes shorter than the original. 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 buses across London, featuring the tagline "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 2006, 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. Chibnall describes the flower power imagery as "what seems like a desperate and misguided attempt to suggest the hipness of a genre which had largely fallen out of favour". However, movie poster expert Sim Branaghan liked its eccentricity, calling it was "that kind of quirkiness you wouldn't get these days". Jonny Trunk of Trunk Records—a long-time aficionado of the film and its history—has observed that the floral pattern of Carter's jacket is taken from the distinctive pillow and matching sheet design from the bed in the scene where Britt Ekland writhes naked whilst on the phone to Jack. 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. Promotional shots and poster artwork exist from the film showing Carter holding a pump-action shotgun; in the finished film, the only shotgun used by Carter is a double-barrelled shotgun, which Carter finds on top of his brother Frank's wardrobe.

MGM sold distribution rights to the film in the U.S. to its future subsidiary United Artists, which promoted it poorly, amidst worries the cockney dialogue in the opening scene would be unintelligible to U.S. audiences. The film's release was delayed while parts of the film were redubbed, with no great improvement. In the process of redubbing the opening, the version of the film with the original dialogue was lost. For years the version shown on British television was the redubbed American cut. UA placed the film on the declining drive-in movie circuit, where it played at the bottom of a double bill with Dirty Dingus Magee, a vehicle for Frank Sinatra. Michael Klinger complained in 1974 to president of UA Eric Pleskow about the lacklustre promotion of Carter, and tried to get him to relinquish the U.S. rights to the film so that Klinger could find a better distributor.

The film did not encounter many censorship problems, although the scene where Carter knifes Albert Swift caused concern for the censor John Trevelyan. In South Africa the censor cut out Britt Ekland's phone sex scene, shortening her already brief role; her name was still left on the poster, leaving filmgoers to wonder why she was advertised as appearing.

A resurgence of critical and public interest in the film in the 1990s led to the British Film Institute (BFI) releasing a new print of the film in 1999. 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. The reissue premiered at the National Film Theatre and went on general release on 11 June 1999, showing at the Tyneside Cinema in Newcastle.

On 16 March 2022, the BFI announced that they would be partnering with Warner Bros. and Warner Bros. Home Entertainment for a re-release of the film at the BFI Southbank as part of their retrospective program Return of the Outsider: The Films of Mike Hodges, which ran from May 1 to May 31 and included various in-person events such as "Mike Hodges in Conversation" on May 3; this was followed by a wide release in British and Irish cinemas on 27 May. This release utilised a new 4K restoration of the film's original camera negative, which was approved by Hodges.

Home media
Chibnall has established that the film was shown on LWT in 1976 and 1980 "in a bowdlerised version" (which edited out Britt Ekland's phone sex scene) and once on Westward Television and on Granada in August 1981, but it was not shown nationally and in its entirety until a post-watershed BBC broadcast in 1986. It was finally released on home media in 1993 by MGM/UA as part of its "Elite Collection". 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. reissued the film in a special edition on DVD in October 2000 in its original 1.85:1 aspect ratio. 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. This format was also used in a 2001 VHS set released by Warner, which included Bullit and Shaft. Also included on the DVD was commentary from Caine, Hodges and Suschitzky, constructed from separate interviews with the three. The soundtrack was presented in 1.0 mono Dolby Digital.

The film was bundled in the 2008 "Movies That Matter – 70's Classics" DVD set with Deliverance and Dog Day Afternoon. It is available from the Warner Archive Collection as a Made on Demand (MOD) DVD-R or a download, with the same extras as the 2000 release, although with only two trailers and this time in 16:9 ratio.

Get Carter was released on Blu-ray Disc by Warner on April 22, 2014; this release features the same extras as the special edition DVD, but due to a manufacturing error, American pressings of the disc utilize the dubbed American version of the opening sequence instead of the original audio. This change was carried over to the initial British pressings of the disc, but was later reversed following public backlash; later British pressings sold by outlets such as Amazon UK feature the original audio track.

BFI Video released its 4K restoration of Get Carter on August 1, 2022 on standard and Ultra HD Blu-ray; the two-disc sets include the special features of earlier home media releases of the film, as well as a new audio commentary with critics Kim Newman and Barry Forshaw, an isolated music track, interviews with Hodges, Trunk Records founder Jonny Trunk, actress Petra Markham and Michael Klinger's son Tony, Philip Trevelyan's 1966 documentary film The Ship Hotel, Tyne Main, a booklet containing various essays on the film and other paraphernalia, postcards and a double-sided poster for both the restoration and a replication of the original UK poster art.

Critical response

On Rotten Tomatoes, the film has an approval rating of 87% based on 38 reviews, with an average rating of 7.50/10; the site's critical consensus reads "Darkly entertaining and tightly wound, Get Carter is a gritty revenge story done right". In 2003, Steve Chibnall observed a large gender imbalance in voting on the film up to April 2002, with less than 6% of votes cast (where the voters gave their gender) by women (53 out of 947). He also noticed a substantial increase in women voting on the film in the eight months leading up to April 2002.

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 thought the general stance of British critics "was to admire the film's power and professionalism while condemning its amorality and excessive violence". Geoff Mayer observed that "Mainstream critics at the time were dismayed by the film's complex plotting and Carter's lack of remorse". In Sight and Sound, Tom Milne said the film was well-constructed and had good characterisation, but lacked the mystery and charisma of the earlier American crime films it attempted to emulate. He found Carter's motivations were inconsistent, either being an avenging angel or an "authentic post-permissive anti-hero, revelling in the casual sadism". In contrast, Nigel Andrews found the characters to be clichéd archetypes of the criminal underworld, such as the "homosexual chauffeur, bloated tycoon, glamorous mistress", describing the film as "perfunctory". Richard Weaver in Films and Filming praised the realism of the film, describing it as "crime at its most blatant", while George Melly writing in The Observer confessed to vicarious enjoyment of it, but admitted it was "like a bottle of neat gin swallowed before breakfast. 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". US publication Box Office gave a cautiously approving review, describing the film as "nasty, violent and sexy all at once". 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". The reviewer also opined that "Tighter editing would help considerably". 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". Of Caine's performance he wrote, "The character created by Caine is particularly interesting. 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". Variety also praised the film, saying it "not only maintains interest but conveys with rare artistry, restraint and clarity the many brutal, sordid and gamy plot turns". However, Jay Cocks writing in Time was disparaging, calling the film "a doggedly nasty piece of business" and comparing it unfavourably to Point Blank. The film appeared on several US critics' lists of best films of the year.

In Michael Klinger's The Guardian obituary in 1989, Derek Malcolm remembered the film as "one of the most formidable British thrillers of its time".

Box office
Get Carter was a financial success, and according to Steve Chibnall its box office takings were "very respectable". On its opening week at ABC2 cinema at Shaftesbury Avenue, London, it broke the house record, taking £8,188. It out-performed Up Pompeii, which was showing in the larger ABC1. It also performed strongly when moved to the ABCs in Edgware and Fulham Road. 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 1970), which remained the most popular film in Britain throughout Get Carter's run". It was the sixth-most popular "general release" movie at the British box office in 1971.

Accolades
At the time of its release, the only recognition the film received was a 1972 BAFTA Awards nomination for Ian Hendry as Best Supporting Actor. In 1999, Get Carter was ranked 16th on the BFI Top 100 British films of the 20th century; five years later, a survey of British film critics in Total Film magazine chose it as the greatest British film of all time. In 2008 the film was placed at 225 on Empire's 500 Best Movies of All Time list, which was selected by over 10,000 Empire readers, 150 filmmakers and 50 film critics. In October 2010 the critics from The Guardian newspaper placed the film on their list of "Greatest Films of All Time", placing it at number 7 in the 25 greatest crime films. In the accompanying poll conducted amongst Guardian readers, it was voted fifth. In 2011 Time Out London placed the film at 32 in its 100 Best British Films list, which was selected by a panel of 150 film industry experts.

Remakes
In 1972, MGM released the blaxploitation film Hit Man, written and directed by George Armitage and produced by Gene Corman; the film's credits identify Lewis' Jack's Return Home as its basis. This was the second time that Corman had produced a blaxploitation film based on a novel that had previously been adapted for film, following Cool Breeze (1972), the fourth adaptation of W. R. Burnett's The Asphalt Jungle. However, Hodges and critics have identified Hit Man as a remake of Get Carter, transposing the action from Newcastle to Los Angeles. The film stars Bernie Casey as Tyrone Tackett, the story's counterpart to Jack Carter, while Glenda is reimagined as Gozelda, a "sultry skin flick star" portrayed by Pam Grier. Armitage revealed that he had not seen Get Carter at the time he worked on the film, and that Corman had given him an untitled copy of Hodges' script, asking him to rewrite it in an African-American context; he did not learn that the film was based on Get Carter until he was informed by his agent. While the films share several plot details and treatments, such as a sniper aiming at Carter/Tackett on a rocky beach, Hit Man includes several divergences from Get Carter, including a scene in which Gozelda is mauled to death by tigers, and does not end with the main character's death. Hodges and Klinger were incensed by MGM's decision to remake the film, as they considered Hit Man inferior to Get Carter; Lewis later claimed that he never received any royalties from Hit Man. The film was released by Warner Archive Collection as a MOD DVD-R on May 4, 2010.

Warner Bros., which holds the rights to the pre-1986 MGM library, produced another remake of Get Carter in 2000 under the same title, starring Sylvester Stallone as Jack Carter. Originally announced in 1997, Tarsem Singh and Samuel Bayer were considered to direct the film before Stephen Kay signed on, with David McKenna writing the script. As with Hit Man, the film credited Ted Lewis' Jack's Return Home as its source, not Hodges' film, and again it contains scenes that are directly borrowed from the original, such as the opening train ride. Michael Caine appears as Cliff Brumby, in what Elvis Mitchell described as "a role that will increase regard for the original", speculating that "maybe that was his intention". Mickey Rourke plays the villain Cyrus Paice. The remake was compared unfavourably to the original by the majority of reviewers. The consensus opinion of critics on Rotten Tomatoes was that it was "a remake that doesn't approach the standard of the original, Get Carter will likely leave viewers confused and unsatisfied. Also, reviews are mixed concerning Stallone's acting". It was so badly received on its US release that Warner Bros. decided not to give it a UK theatrical release, anticipating the film would be savaged by British critics and fans. Elvis Mitchell in The New York Times wrote "it's so minimally plotted that not only does it lack subtext or context, but it also may be the world's first movie without even a text". Mike Hodges said in 2003 he had still not seen the remake, but was informed by a friend that it was "unspeakable". 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". The film was voted the worst remake of all time in 2004 by users of British DVD rental website ScreenSelect (precursor of Lovefilm). On 13 February 2001, the remake was released on Region 1 DVD by Warner Bros. Home Entertainment.

Legacy
Tom Cox writes that many British film makers "have stolen from Hodges without matching the cold, realistic kick" of Get Carter. Films such as The Long Good Friday, Face and Lock, Stock and Two Smoking Barrels borrow from the film's blueprint. Steven Soderbergh's 1999 film The Limey is a homage to Get Carter and other British gangster films, and contains similar plot elements and themes of revenge, family and corruption. Soderbergh said he envisioned The Limey as "Get Carter made by Alain Resnais". Shane Meadows' film Dead Man's Shoes has also drawn comparisons to Get Carter, being similarly a revenge gangster story set around a provincial English town. The production team of the television series Life on Mars also cited Get Carter as one of their influences for the programme.

The film's music also enjoyed its own resurgence in popularity, for it tapped into a 1990s interest in vintage film soundtracks. Portishead's Adrian Utley explained that they found the music to Get Carter inspiring because "it was done quickly and cheaply with only a few instruments, and it had to be intensely creative to disguise its limitations". The Human League album Dare contains a track covering the Get Carter theme, although it was only a version of the sparse leitmotif that opens and closes the film as opposed to the full-blooded jazz piece that accompanies the train journey. Stereolab also covers Roy Budd's theme on their album Aluminum Tunes, although they call their version "Get Carter", as opposed to its proper title, "Main Theme (Carter Takes A Train)". This Stereolab version was subsequently used as a sample in the song "Got Carter" by 76. The Finnish rock band Laika & the Cosmonauts cover the film's theme on their 1995 album The Amazing Colossal Band. BB Davis & the Red Orchidstra released a version of the film's title theme in 1999. Jah Wobble produced a dub cover version of the theme tune in 2009. Wobble had long been a fan of the bassline of the track, saying in a 2004 interview with The Independent that "There are some bass lines that contain the whole mystery of creation within them".

title: Get Carter


text:
Onhaye

Onhaye is a municipality of Wallonia located in the province of Namur, Belgium.

On 1 January 2006 Onhaye had a total population of 3,120. The total area is 65.53 km2 which gives a population density of 48 pd/sqkm.

The municipality consists of the following districts: Anthée, Falaën, Gerin, Onhaye, Serville, Sommière, and Weillen.

The region is home to several cultural heritage monuments, such as Château de Fontaine and the fortified farmhouse Falaën Castle.

title: Onhaye


text:
Rochefort, Belgium

Rochefort (Rotchfoirt) is a city and municipality of Wallonia located in the province of Namur, Belgium, close to the Ardennes. On 1 January 2006, Rochefort had a total population of 12,038. The total area is 165.27 km² which gives a population density of 73 inhabitants per km². It was a resort in the 19th century.

The municipality consists of the following districts: Ave-et-Auffe, Buissonville, Éprave, Han-sur-Lesse, Jemelle, Lavaux-Sainte-Anne, Lessive, Mont-Gauthier, Rochefort, Villers-sur-Lesse, and Wavreille.

Its ancient position at the crossroads where the route to Saint-Hubert crossed that from Liège to Bouillon required fortifying: the ruins of the old castle, which gave the place its name and a title to a long line of counts who had the right of coining their own money, still exist. This castle underwent many sieges and suffered at the hands of Marshal de Châtillon (1636).

Near Rochefort are the red marble quarries of St. Remy, and Rochefort Abbey, a Trappist monastery, which operates the Rochefort Brewery, known for brewing dark and sweet beers, especially the Rochefort 10, a deep dark-brown rich and fruity beer.

The town was the site of the Battle of Bure during the Second World War.

Caves
Rochefort is well known for its caves. The Grotto of Rochefort, within the town, contains six chambers, the largest and highest of which was called the Sabbat (Encyclopædia Britannica 1911). It was swept clear of its prehistoric remains before electric lighting was installed. The cave has recently been given the Christian name of "Lorette" after a nearby chapel of Our Lady of Loreto.

The more famous local caves within the municipality are at Han-sur-Lesse, one of Rochefort's constituent towns, where the Lesse River disappears at what is called the gap or hole of Belvaux and passes by subterranean passages under the hill called Boeme or Boine. The endeavour to trace the course of the river led to the discovery of the grottoes, which consist of fifteen separate connected "halls" that emerge in a bay of the river from a dark and extensive cavern forming a sort of side creek or bay. Except in flood-time, when the exit has to be used, the entrance is near the point where the river disappears at what is called the gap or hole of Belvaux, and the exit is made by boat from the cavern last described, which leads out to the open river. A beautiful effect for tourists in boats is afforded by emerging from the complete darkness of this cavern into the light. The finest stalactites are in the three halls called the Mysterieuses, the Vigneron and the Draperies where is " the tomb", which looks as if chiseled out of white marble. The central hall called the Salle d'Armes ("the Armory") is immense, and one of the river channels flows through it.

Twin City
Rochefort is twinned with the city of Broussard, Louisiana.

title: Rochefort, Belgium


text:
Somme-Leuze

Somme-Leuze (Some-Leuze) is a municipality of Wallonia located in the province of Namur, Belgium.

On 1 January 2006 the municipality had 4,656 inhabitants. The total area is 95.09 km2, giving a population density of 49 inhabitants per km2.

The municipality consists of the following districts: Baillonville, Bonsin (including Chardeneux), Heure-en-Famenne, Hogne, Nettinne, Noiseux, Sinsin, Somme-Leuze, and Waillet.

title: Somme-Leuze


text:
Vresse-sur-Semois

Vresse-sur-Semois (, literally Vresse on Semois; Vresse) is a municipality of Wallonia located in the province of Namur, Belgium.

The municipality consists of the following districts: Alle, Bagimont, Bohan, Chairière, Laforêt, Membre, Mouzaive, Nafraiture, Orchimont, Pussemange, Sugny, and Vresse.

On its south and west, the municipality borders the Ardennes department of France. It is about 10 km north of Sedan.

title: Vresse-sur-Semois