This is not an easy career to explain. By the late nineties, for instance, Get Carter was a cult movie, famous for its abrupt violence and poker-faced comedy, and for its absolute logical fatalism. Not that Get Carter wasn’t a hit in its day.
Nearly thirty years later, with a good script by Paul Mayersberg, Croupier was one of the pleasant surprises of its season, and an assured handling of underworld material. What happened in between? Why, close to the age of seventy, is Hodges so little appreciated? The films made between Carter and Croupier are not as good, but they’re not that terrible, either. Plenty of lesser talents have had steadier careers, but Hodges—who was experienced in TV directing in the late 1960s even— looks like a novice. Indeed, if Croupier had been a first film, its director would have been hailed and offered a portion of the world.