Syndicate also plans to publish two more Lewis novels this year, one of them for the first time in North America, according to the company. While you wait to read them, here's a post I first put up a few years ago about Jack's Return Home/Get Carter and Mike Hodges' celebrated movie version. The new edition of the novel includes a foreword by Hodges that offers illuminating discussion of his feelings about the book and of changes he made when filming it. And here's a link to another post I put up after hearing Hodges speak at Crimefest 2010 in Bristol.
Jack's Return Home, later rereleased under the same title as the movie, is full of angry observations on the North England city to which tough-guy Jack Carter return to investigate his brother's death. (The setting is Newcastle in the movie,
Hodges' movie is full of gritty interiors, rows of housing apparently foreshortened by a long camera lens to emphasize the degree to which they are squashed together beneath giant belching smokestacks. Hodges and cinematographer Wolfgang Suschitzky also offer up a gorgeous gallery of deeply etched local faces drinking in a local pub. That first pub scene and the shots of houses and smokestacks look straight out of a gritty documentary. (Go here for a rundown and photos of real locations used in the movie.)
"The clientele thought they were select. There were farmers, garage proprietors, owners of chains of cafés, electrical contractors, builders, quarry owners, the new Gentry. And occasionally, though never with them, their terrible offspring. The Sprite drivers with the accents not quite right, but ten times more like it than their parents ... Not one of (the wives) was not overdressed. ... They'd had nothing when they were younger, since the war they'd gradually got the lot, and the change had been so surprising they could never stop wanting ... "or
"The dark, close trees came to and end and I was back bathing in the rateable value of the yellow street lights. ... The California-style homes were still and silent, tucked away beyond the yards and yards of civic-style lawn. Where a house showed signs of life naturally the curtains were drawn well back to inform the neighbours of the riches smugly placed within."The second bit is more sneering and less specific than the first and therefore has dated less well. But by God, they both give the novel an attitude.
© Peter Rozovsky 2010, 2014