Of the celebrated British administrators indebted to tv for his or her early success, Mike Hodges, who has died aged 90, most likely had essentially the most erratic profession.
Together with his characteristic movie debut Get Carter (1971), Hodges made his most acclaimed film. Though it’s now acknowledged as a traditional of British cinema, on its launch its depiction of gangsterdom and the world of knowledgeable killer was to not each critic’s style. Pauline Kael described it as “so calculatedly cool and soulless and nastily erotic that it appears to belong to a brand new style of virtuoso viciousness”.
Helped by a advantageous cameraman, Wolfgang Suschitzky, and an excellent editor, John Trumper, Hodges made use of his tv documentary expertise and a few gritty Newcastle backgrounds to current an unflinching portrait of lowlife Britain – quite a few cuts needed to be made on its subsequent tv outings. Within the function of Carter, Michael Caine created a vengeful, icy killer to rank with Lee Marvin’s iconic Walker in John Boorman’s Level Clean.
Get Carter proved a tough act to observe, and distorted the important and public response to his later works. Hodges later commented ruefully on these “professionally bruising years”, which held “a litany of failure, principally by the hands of the North People”. Actually, The Terminal Man (1974), Black Rainbow (1989) and Croupier (1998), amongst others, had been films of particular person stature, deserving of a greater destiny by the hands of distributors and exhibitors than they obtained.
Hodges was born in Bristol, the son of Norah Cottrell and Graham Hodges, and grew up in what he described because the chocolate-box surroundings of Salisbury after which Tub, the place he was despatched to board at Prior Park school. He was persuaded by his dad and mom to take accountancy exams as a route right into a “safe career”, and served his two years of nationwide service as a ranking within the Royal Navy on minesweepers. Then he deserted accountancy and moved to London, taking a modest technical job within the burgeoning world of tv.
In his spare time he wrote scripts and labored his means into dwell TV, on a non secular programme, Sunday Break. He received his break with World in Motion, which he joined as a producer-director in 1963.
Additional expertise got here with a youngsters’s serial, The Tyrant King (1968) and, considerably, with the sombre Suspect (1969), for the ITV Playhouse sequence, which he co-produced and directed from his personal screenplay. This was adopted by Hearsay (1970), an city thriller that includes a harshly drawn journalist – a prototype for later Hodges antiheroes.
Following that feature-length work, it was a logical step for the almost 40-year-old director to maneuver into characteristic movies on the crest of the realist motion that had dominated British cinema from the late Fifties onwards.
After the success of Get Carter, Caine stayed with Hodges for Pulp (1972), taking part in a profitable author who accepts a proposal to ghost the memoirs of a former Hollywood star (Mickey Rooney) greatest recognized for taking part in gangsters, with calamitous outcomes. It failed commercially, confounding expectations in its blackly comedian view of gangsterdom – a far cry from its visceral predecessor.
If Pulp stunned individuals, The Terminal Man, freely tailored from a Michael Crichton novel, brought about consternation with its bleak portrait of a psychopath (George Segal, solid in opposition to kind) who’s experimented on to manage his violence. Initially little seen within the US after baffled opinions, it was not launched in cinemas in Britain, however surfaced on BBC late-night tv.
It was six years earlier than Hodges accomplished a fourth characteristic, the high-camp Flash Gordon (1980), primarily based on the cartoon and with a rating by Queen, which he took over from Nicolas Roeg. Within the interim Hodges had begun directing Damien: Omen II (1978) solely to be eliminated unceremoniously after a month’s filming. Had it not been for the colorful Flash, his profession may need stalled. Even so, to maintain working he returned to TV, with a thriller, Lacking Items (1983), and that 12 months supervised the English-language model of Federico Fellini’s lugubrious And the Ship Sailed On.
After Squaring the Circle for tv and a section in Horny Shorts (each 1984), Hodges returned to the massive display screen with Morons From Outer Area, a staggeringly banal comedy, starring the comedy duo Mel Smith and Griff Rhys Jones, that proved a important, business and inventive failure. As soon as once more tv helped pay the payments, with an episode within the sequence The Hitchhiker and Florida Straits (1986), which, like a number of of his works, was revamped in post-production.
An identical destiny awaited the controversial A Prayer for the Dying (1987), with Mickey Rourke as an IRA activist who tries to go away the organisation after a college bus is blown up as an alternative of a British military automobile. The film was re-edited and given new music to reduce the violence for American audiences.
Two years later his highly effective supernatural thriller, Black Rainbow, with Rosanna Arquette as a medium who discovers that she will be able to predict homicide was equally obtained. This disturbing and tense work went straight to cable within the US and after lacklustre distribution in Britain discovered an viewers on TV.
In 1994 Hodges directed his first BBC drama, The Healer, however it turned out to be an sad union. He subsequently directed a miniseries, Dandelion Lifeless, and wrote the screenplay for The Lifeforce Experiment earlier than a proposal from Channel 4 to direct the noirish Croupier, starring Clive Owen.
Initially Channel 4 thought-about the finished film, with its intelligent screenplay by Paul Mayersberg, too low key for theatrical launch. When it obtained restricted distribution within the US the glowing important response was sufficient to realize it a wider displaying, and affords of cinema screenings in Britain, which reignited curiosity in his work.
Hodges energetically supported the publicity surrounding its launch and the retrospectives of his work that adopted in Europe and the US. He subsequently directed his play Taking pictures Stars and Different Heavenly Pursuits, a wry have a look at the film enterprise and its idiocies, within the West Finish of London in 2001, and in 2003 tailored it for BBC radio, with a solid together with Michael Sheen and Michael Gambon, and narrated by Owen. He additionally directed a documentary about serial killers in movie, Homicide by Numbers (2001).
Two years later he secured financing for a characteristic, I’ll Sleep Once I’m Lifeless, once more starring Owen. The story of a legal who comes out of seclusion to research the suicide of his youthful brother – following his rape by one other gangster – had echoes of his admired debut. It was a characteristically bleak work and regardless of some beneficial opinions achieved solely modest business success, though it, like different earlier movies, loved a cult following, and was admired for its ambition and lack of compromise.
In 1964 he married Jean Alexandrov; they divorced in 1982. In 2004 he married Carol Lawes, who survives him, with the 2 sons, Ben and Jake, from his first marriage.