Michael Klinger was the most successful indpendent producer in the British film industry over a 20 year period from 1960 to 1980, responsible for 32 films, including classics such as Repulsion (1965) and Get Carter (1971). Despite working with many famous figures- including actors Michael Caine, Peter Finch, Lee Marvin, Roger Moore, Mickey Rooney and Susannah York; directors Claude Chabrol,Mike Hodges and Roman Polanski and author Wilbur Smith- Klinger''s contribution to British cinema has been almost largely ignored. This definitive book on Micheal Klinger, largely based on his previously unseen personal papers, examines his origins in Sixties Soho ''sexploitation'' cinema and ''shockumentaries'' through to major international productions including Gold (1974) and Shout at the Devil (1976). It reveals how Klinger deftly combined commercial product-the hugely popular ''Confessions'' series (1974-78)- with artistic, experimental cinema that nurtured young talent, including Polanski and Hodges, Peter Colinson, Alastair Reid, Linda Hayden and Moshe Mizrahi, the Israeli director of Rachel''s Man (1975).
Klinger''s career is contextualised through a reassessment of the British film industry during a period of unprecedented change and volatility as well as highlighting the importance of his Jewishness. The Man Who Got Carter offers a detailed analysis of the essential but often misunderstood role played by the producer.

Michael Klinger was the most successful indpendent producer in the British film industry over a 20 year period from 1960 to 1980, responsible for 32 films, including classics such as Repulsion (1965) and Get Carter (1971). Despite working with many famous figures- including actors Michael Caine, Peter Finch, Lee Marvin, Roger Moore, Mickey Rooney and Susannah York; directors Claude Chabrol,Mike Hodges and Roman Polanski and author Wilbur Smith- Klinger''s contribution to British cinema has been almost largely ignored. This definitive book on Micheal Klinger, largely based on his previously unseen personal papers, examines his origins in Sixties Soho ''sexploitation'' cinema and ''shockumentaries'' through to major international productions including Gold (1974) and Shout at the Devil (1976). It reveals how Klinger deftly combined commercial product-the hugely popular ''Confessions'' series (1974-78)- with artistic, experimental cinema that nurtured young talent, including Polanski and Hodges, Peter Colinson, Alastair Reid, Linda Hayden and Moshe Mizrahi, the Israeli director of Rachel''s Man (1975).
Klinger''s career is contextualised through a reassessment of the British film industry during a period of unprecedented change and volatility as well as highlighting the importance of his Jewishness. The Man Who Got Carter offers a detailed analysis of the essential but often misunderstood role played by the producer.