Film: Double Bill

Interview,Jennifer Rodger
Wednesday 30 December 1998 20:02 EST
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

PAUL McGUIGAN, DIRECTOR OF `THE ACID HOUSE' ON HIS IDEAL CINEMATIC PAIRING

CHITTY CHITTY BANG BANG (KEN HUGHES, 1968)

GET CARTER (MIKE HODGES, 1971)

CHITTY CHITTY Bang Bang is one of my favourite films. It is a cute musical. But it's more of a spooky fairy tale. You never know where, or at what time, it's set. It uses such simple effects but they have a great impact. It's one of those things I liked as a child and my son, Seamus, who is four and a half, went through six months of watching it at least once a week.

There are these really, really surreal bits; for instance, the child catcher. I don't know if there has ever been such an evil character in a children's film. He does that brilliant little dance and then there is his sweetie truck. It was probably quite innocent, but now you think of this man enticing children into his car with sherbets and it's actually very horrible.

As a film-maker, I would love to do a kid's movie. I know people would think that's strange, but it would be a great challenge to keep them entertained.

In Get Carter, Michael Caine plays a London gangster who goes to Newcastle because his brother has been killed there. He wants to discover why and he finds out that his niece has been forced into making a porn movie. The film's style is modern and urban and its use of location is amazing, especially in the final scene where Caine is chased around a slag heap. Like Chitty Chitty Bang Bang, it's a very modern way of film making.

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in