Oliver Twist

OLIVER TWIST (First National Pictures, 1922), a Sol Lesser production, directed by Frank Lloyd, is another one of many screen adaptations taken from Charles Dickens' immortal story. Dickens himself described it best in a reprinted passage displayed during the opening credits: "When that tale was first published, I fully expected it would be objected to on high moral grounds. It set a very coarse and shocking circumstance that among the characters in my story, I had chosen from the filthiest, most criminal and degraded of London's population. The character of Sikes is a thief, Fagin a receiver of stolen goods, the boys are pick-pockets and Nancy is a prostitute. Yet I saw no reason, when I wrote the book, why the dregs of life, so long as their speech did not offend the ear, should not serve the purpose of a moral. In this spirit, I wished to show in little Oliver the principle of Good surviving through every adverse circumstance and triumphing at last among what companions I could try him best."

In the now familiar story for anyone who's either read the literary tale or seen the latter screen or made for TV adaptations, the introduction begins with a woman, reportedly found lying on the street and taken inside a workhouse by a Mrs. Thingummy, having given birth to an infant boy. The mother dies, and the old hag, noticing an expensive looking locket in the dead woman's possession, takes it before arranging for the orphan to be sent away and raised in a workhouse. Nine years later, the boy, known to all as Oliver Twist (Jackie Coogan), living on charity along with other workhouse orphans, lives a cruel and abusive life doing two days work in one under strict supervision of Bumble the Beadle (James Marcus). When asking for more gruel/porridge for supper, as punishment, Oliver is confined to his room where the hungry boy dreams of food, glorious food. Later taken to Mr. Sowerberry (Nelson McDowall) where he's to work an undertaker's apprentice, Oliver is further tormented by Noah Claypool (Lewis Sargent), a fellow workmate, through comments said about his deceased mother. A fight ensues, causing Oliver to be put away in a gloomy room. Seeing a way out, he escapes and journeys towards London so not to be sent back to the dreaded workhouse. After seven days of begging for money and food, Oliver finally makes it to his destination where he meets Jack Dawkins (Edouard Thebaol), better known as "The Artful Dodger." Later introduced to Fagin (Lon Chaney) and placed in his Field Lane slum apartment for food and lodging, Oliver, now in the company of thieves, including Bill Sikes (George Siegmann), Fagin's henchman; and Nancy (Gladys Brockwell), Bill's woman; the boy is taught a game of stealing. Oliver is later arrested for stealing while at the same time a stranger named Monk (Carl Stockdale), with some possible connection to Oliver's family history, comes searching for him.

Other members of the "all-star cast" include Aggie Herring (Mrs. Corny), Joan Standing (Charlotte); Esther Ralston (Rose Maylie); Taylor Graves (Charles Bates); and Eddie Boland (Toby Crackitt). Lionel Bellmore, who plays Mr. Brownlow here, would assume another role as Mr. Bumble in the 1933 sound adaptation to OLIVER TWIST (Monogram, 1933) starring Dickie Moore.

In spite of its age and this being a silent movie (with most circulating prints with organ score by John Muri, and you-tube edition with scoring that leaves impressionable thoughts of being played on a toy piano), this 1922 76 minute edition holds up quite well for film buffs, thanks to Lloyd's authentic direction of 19th century London setting believably captured on screen. Though it would be logical for Lon Chaney's bearded Fagin, giving that character actor Tully Marshall feel to it, to steal every scene he's in. He does, but many of the film's best moments belong to little Jackie. It's certainly hard to forget his sad face emotions capturing the essence of Dickens character, particularly one who's never experience happiness. Even in a courtroom scene where the accused thief is forced to stand on a platform as he fights dizziness and keeping his eyes open to what's happening around him, brings forth emotional pity, though not by his stern judges. Only when taken in by the wealthy Mr. Brownlow is he given that opportunity to find the true meaning of happiness and considering himself one of the family. After abducted back to the gang of thieves who strip him of his luxury clothing and revert him back to his former pauper looking appearance is quite an emotional impact for little Oliver, especially when in the clutches of the likes of Bill Sikes. No wonder Coogan became the most popular child actor of his time.

Once feared lost, a print was reportedly discovered in Yugoslavia around 1975. How fortunate to now have OLIVER TWIST available in our mist. Distributed to video cassette in the 1980s by Blackhawk and later Republic Home Video, it's latter distribution by Kino Video on VHS and later DVD format, with same organ scoring by Muri, contains some color tinting as well. After many years of obscurity, OLIVER TWIST was finally presented on cable television's TURNER CLASSIC MOVIES (TCM premiere: August 15, 2011) where it occasionally plays as part of its "Silent Sundays" festival. A worthy rediscovery of both film and Jackie Coogan from anyone wanting more. (***)

I highly recommend this movie: The narrative flows well, The set design and photography are wonderful and the acting is very good, especially Coogan & Chaney. The other extensive positive reviews are all on target. Bill Sikes is suitably dangerous and Nancy is pretty and sympathetic

The titles are used effectively given the complexity of Dickens' story. The early scenes, such as when Oliver is in the workhouse, are quite realistically portrayed. The workhouse scenes include some entertaining moments of comedy, but also show Oliver's courage and potential to take advantage of situations.

Fagin's thieves' den feels claustrophobic and Fagin''s creepily manipulative behaviors make you anxious for Oliver's escape. . The movie does not drag out the final scenes thus completing a very satisfying movie experience.

Oliver Twist, the novel by Charles Dickens, has had a long and unusual relationship with the cinema. Adapted numerous times (this 1922 feature was already at least the fifth), incorporating some major changes along the way which have since become accepted in future versions. Viewers today may be familiar the 1948 David Lean movie and the Lionel Bart musical, but these contain several key differences from the novel. You see, Oliver Twist was an early work by a young author, and its plotting is not perfect. This faithful adaptation reveals those shortcomings, reproducing all the far-fetched coincidence and convergence, and removing any sense of danger from the finale by having Oliver safe and sound rather than recaptured by the criminal gang.

Oliver Twist is a lengthy book and anyone wishing to adapt it has a lot of source material to pick and choose from. However for this version screenwriters (Walter Anthony and director Frank Lloyd) have attempted to cram in just about every subplot and minor character, quite a feat for a 74-minute runtime. As such there are a lot of title cards quickly glossing over some point, with characters popping up and disappearing without really being introduced. Because leading lad Jackie Coogan had found fame co-starring with Charlie Chaplin, there has been some attempt to comedy the picture up, and some half-hearted slapstick routines are the only real departures from Dickens. There's also a fair bit of en vogue cross-cutting, for example between the scene of Oliver play-acting with Mrs Bedwin and Brownlow's conversation with his friend over Oliver's character. It doesn't add much.

More promise lies in the look of the picture. The production design is fabulous with sets and costumes conjuring up the dilapidation and inequality of the era. It is especially appropriate for Dickens, rich with visual detail just as the author's work is rich with description of place and person. Director Frank Lloyd is one of the unsung heroes of this era, a great aesthetic shot composer with a painterly eye. At a time when it was really becoming commonplace to have the camera pan and tilt to follow the actors, Lloyd liked to explore the psychological effect having a character disappear off screen while the camera remained still. A fine example here is when Sykes pushes Nancy to the floor, shoving her out of the shot, revealing Fagin's concerned face in the spot where she stood. Some have dismissed Frank Lloyd as a conservative for the lack of movement in his pictures, but here we can see he uses a lot of point-of-view shots, before they really became standard. He is also pretty imaginative with his inserts, such as the one of Bullseye the dog scrabbling at the door, which was copied in a few later version of Oliver Twist. Meanwhile a lively editing pattern keeps things moving.

These days, many an adaptation of Oliver Twist is judged more than anything else on the strength of its Fagin. In this case, it was an early make-up part for horror king Lon Chaney. Chaney did his own make-up, and he has sensibly resisted making Fagin too grotesque or stereotypically Jewish (compare Alec Guinness in 1948, and cringe). Apart from the occasional shift of the eyes, this is largely a physical performance, with Chaney conveying great presence and character in his body language. As he would with many of his characters he brings out the forlornness over the overtly evil, beginning a tradition of increasingly sympathetic Fagins in successive screen versions. Chaney is unfortunately one of the few delights of the cast however. Jackie Coogan was the first major child star, but he is a disappointment here, with Lloyd failing to conjure up any of that magic that Chaplin found in him. I'm normally impressed by ubiquitous every-villain George Siegmann, but frankly his appearance as Bill Sykes is just lazy typecasting, and his performance is lacklustre. One saving grace is that, by the standards of the day, the acting is quite natural and restrained. Gladys Brockwell (Nancy) is very good in this respect, emoting well, although sadly her part is underused here.

This 1922 version of Oliver Twist is a mixed bag. On the one hand it's visually impressive with some truly memorable set-pieces such as Sykes's rooftop fall or Fagin alone in his cell. On the other it is structurally rather chaotic, full of hasty plot lines that don't get the development they require. This problem is something future adaptations would address. It's intriguing though how the looks of characters and the unfolding of key scenes are remarkably similar from one movie version to another. And this is where the talent of Charles Dickens shines through – the bold twists, catchy dialogue, and larger-than-life figures that have made his work such a source of inspiration for the screen.

While not the best film version to me(the David Lean film), it is a very interesting one for reasons other than and as well as being silent. At 74 minutes though, I did think it was too short, and because it is such a lengthy and complicated novel with a lot going on, what was translated on screen, which was as much as possible seemingly, came across as too rushed with some characters disappearing before we even get to know them. However, it is absolutely great visually, the production design and lighting look wonderful and the atmosphere is beautifully evoked. The film is very well directed by Frank Lloyd, who manages to stage scenes, crucial or not, with much impact. Sykes' fall and Fagin alone in the cell were really well done, but the standout was Sykes pushing Nancy to the floor, a fine example I agree of where a character disappears replaced by another, in this case Fagin. The cast are fine. Most of the cast I am not as familiar as familiar with as the two big names, but they do their job well. George Siegmann seemed like typecasting to me but it is a job that he does well. Gladys Brockwell is a vulnerable and suitably brash Nancy, and the children are well cast. But this Oliver Twist is most memorable for Jackie Coogan and Lon Chaney. Coogan, who broke my heart in The Kid the previous year, is a sweet and innocent Oliver, while Chaney, looking great, gives a largely physical(relying a lot on gestures, facial expressions and mannerisms) yet commanding account of Fagin while avoiding the trap of making the character stereotypical. All in all, impressive visuals and a memorable Oliver and Fagin makes this an interesting and well-done if not definitive Oliver Twist. 8/10 Bethany Cox

Actually, the "best" version is a matter of opinion, whether you prefer the 1922 Frank Lloyd version, the 1948 David Lean version, the 1968 Carol Reed musical version, or the 2005 Roman Polanski version. But there is little doubt that the 1922 version is the "best" in terms of being the most faithful to Dickens' original novel, virtually every major character and subplot is included with little in the way of changes, quite a feat for a 74-minute movie. I rank it alongside of the 1951 version of Scrooge with Alistair Sims and the 1948 version of Great Expectations as one of the finest adaptations of Dickens on screen.