Get Carter is another successful story that follows the Hero’s Journey template. Mirroring this template allows the screenwriter to write effective screenplays and stories.
The very first sequence provides a lot of information – we are introduced to the hero, his character, inner challenge [escape his mob boss his Ordinary World], the outer challenge / antagonism [find his brother’s murderer] and romantic challenge [Britt Ekland]. He is warned not to embark on the adventure (interdiction). Further, context is added [they’re watching porn movies made in Newcastle] and the status of the hero is elicited [“they’re killers, just like you.”]
The second sequence sees the hero journey straight to the Supernatural Aid / Mentor. We get to know the hero’s character through his actions. Arguably, two significant sections of the Hero’s Journey are omitted (Refusal of the Call and the Punishment for the Refusal) but hey, it works great.
In the third sequence we are taken into the world of the Supernatural Aid. Strange creatures seem to inhabit this world [the people in the pub]. Again, something unusual happens the Supernatural Aid does not appear [Margaret lets him down].
In the fourth sequence, the hero retrieves his magical gift [the shotgun]. The antagonism is referenced [we see Jack’s brother in his coffin]. The antagonist’s presence is also felt [the jeep is watching].
Without warning of the dangers (again unusual), the hero journeys to the First Threshold [the guesthouse]. Loyal allies are encountered [Edna, his daughter et al]. The hero searches for an antagonist [asks the funeral director and friends about his brother’s death, references the strange circumstances of the death].
The mentor eventually appears. The hero searches for guidance from her [Margaret] but it is refused. Consequently, the hero searches for another Albert Swift [“he’ll know what’s going on in this town].
Through chance, the hero meets the antagonist’s lieutenant – but is unsure of his role.
Hero pursues the antagonist’s lieutenant to discover the identity of the lead antagonist.
The hero enters the antagonist’s lair (evades the Threshold Guardians guarding the lair).
There is a meeting with the antagonist where both indicate mutual respect. The hero meets a Shape Shifter here.
The 106 stage Hero’s Journey and complete analysis of Get Carter (1971) and other story structure templates can be found at
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Kal Bishop, MBA
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Kal Bishop is a management consultant based in London, UK. His specialities include Knowledge Management and Creativity and Innovation Management. He has consulted in the visual media and software industries and for clients such as Toshiba and Transport for London. He has led Improv, creativity and innovation workshops, exhibited artwork in San Francisco, Los Angeles and London and written a number of screenplays. He is a passionate traveller. He can be reached at
