Mike Hodges is primarily known as the director of Get Carter, a classic gangster drama and one of the most significant British films of the decade. Although not well known by audiences, he is very much a scholars’ and critics’ favourite for both an auteur approach to movie-making as well as a masterly and innovatory usage of the film genre as the basis of his work. The essay examines two of Mike Hodges’s pictures in various and related aspects. First and foremost it concentrates on their affiliation with film noir, as both Get Carter and I’ll Sleep When I’m Dead implement different approaches to this particular film genre. These include examination of the elements of Hodges’s poetics as author in both films. This in relation to film noir as well as a look at the similarities of both pictures, based as they are on the same outline of the gangster drama.