Oliver Twist

I was a bit surprised to find that tiny and ultra-low budget studio Monogram made this Dickens story--well before the famous British version from the late 1940s and the Oscar-winning musical. Now because Monogram had few funds compared to the big studios, I expected the film to be terrible but it actually surprised me. It was competently made and in some ways surprisingly good.

When the film begins, you see a shot that is supposed to be England back in the 19th century--but you can see rather modern buildings from this aerial view! Fortunately, the rest of the film DID look period and the costumes and sets appropriate. But, because it was Monogram, the film is full of mostly unknown and lesser talents. By far the most famous star is young Dickie Moore who plays Oliver Twist--a bad casting decision but not a surprising one as Moore was about the hottest male child actor of the day. He was simply adorable. But, he was also too young for the role and he was not a particularly good actor--at least in this point in his young life. Also, oddly, the Artful Dodger was way too old--looking like a man in his 20s instead of a precocious teen criminal. As for the rest, however, they were surprisingly good.

As far as the story goes, it was greatly rushed--and that is the biggest deficit of the film apart from Moore. Instead of slowly unfolding it seemed to go way too quickly. But, it did hit the important parts of the Dickens story and did something subsequent versions seemed to forget--that in the end, Fagan was hung for his litany of crimes! All in all, worth seeing and surprisingly well done.

NOTE: I previously reviewed this one and was much harsher towards it. I am not sure why, but it seemed better the second time around...

This 1933 version of the Charles Dickens masterpiece is a true oddity. Featuring performances ranging from very good to hysterically bad, and camera work ranging from amateurish, with glimpses of visual artistry and beauty. Dickie Moore is a very young Oliver Twist, with the face of an angel, but zero acting ability. This fact didn't bother me as some of the faces this kid makes are just so hilarious and inappropriate for the scene he is playing, that you just gotta love him! It is actually an endearing performance. Sonny Ray, the actor who played the Artful Dodger had to be pushing 40, which also brought about some unintentional laughter. He also was utterly devoid of any acting talent whatsoever, which makes me wonder just why he was cast at all. However others fare much better here. William Boyd was quite effective and fearful as the sinister Bill Sykes, and Irving Pichel certainly looked the part of Fagin. Also worth mentioning is an actress named Barbara Kent, who played the part of 'Rose'. Again, no acting talent whatsoever, but she possessed that certain porcelain beauty that is associated with silent film stars, and she is delightful to look at here. It must not be forgotten that this is a 1933 production, and one of the first 'talkies'. This was a transitional time for cinema, as actors were still employing the techniques that were used during the silent film days, where body movements and facial expressions were greatly exaggerated in order to get the point across without spoken dialog. This kind of acting is sometimes present here, and i do not think it hinders the production. The best performance has to be that of Nancy Sikes, played wonderfully here by actress Doris Lloyd. She played that difficult part with the right measure of hardness, with a heart and a good nature kept well hidden from scoundrels Fagin and Bill. The fact that this has such a low budget lends this old film a spooky, sometimes surreal quality. There is some effective use of shadows and light. The dark, murky quality here makes Fagin and the others appear as sickly degenerates. And best of all it follows the Dickens story quite faithfully, omitting certain things for budget reasons, most likely. I love the story so much, and those who love to see these immortal characters come to life should get great enjoyment out of this film. This is the third film adaptation of Oliver that I have obtained. I enjoyed the Polanski version, and the David Lean version even more. So by the time I got around to this version it was just a pleasure to see all these characters that I know so well come to life in yet another production of this timeless story. Also the fact that this film is so old lends it another level of mystery and strange beauty somehow. Sometimes a low budget adds to the grittiness of the material. And this is one of the few versions that includes the final scene of Fagin in prison, where he is visited by Oliver, an important scene that is sadly missing from the David Lean version. For fans of the book and the other films, I recommend hunting down this lesser-known film version of a literary masterpiece. This should be a treat especially, for fans of the earlier days of cinema.

OLIVER TWIST (A Monogram Special, 1933), directed by William J. Cowan, stars child actor Dickie Moore (courtesy of Hal Roach Studios) in his first leading role in a feature film presentation. As much as this Charles Dickens based story had been told and retold numerous times during the silent era, with notable screen adaptations being Paramount (1916) with Marie Coro (Oliver) and Tully Marshall (Fagin); and First National (1922) starring Jackie Coogan (Oliver) and Lon Chaney (Fagin), it would be a matter of time before the movie audiences would get some more OLIVER TWIST, this time with sound. While major movie studios as Metro-Goldwyn-Mayer, RKO or Universal might have started the trend of Dickens novels transferred to film, the interesting fact was that the aforementioned major studios were the ones to follow Monogram's poverty row distribution of 1933. Universal provided GREAT EXPECTATIONS (1934), while MGM produced two of the finest of Dickens 1935 adaptations of David COPPERFIELD and A TALE OF TWO CITIES, and three years later, A Christmas CAROL (1938), but this I.E. Chadwick's production for Monogram, very much on a low-budget scale, might prove worthy in spite of disappointing presentation.

Following the opening credits, the fade-in begins with an open book on the first page to CHAPTER 1 that reads: "Among other public buildings in a certain town, which for many reasons, it will be prudent to refrain from mentioning: there is one anciently common to most towns, great or small to wit, a workhouse, and in this workhouse, was born the item of mortality whose name is prefix on the title of that chapter." The story then revolves around a young lad named Oliver Twist (Dickie Moore), an orphan in 19th century England, raised by a Mr. Bumble (Lionel Bellmore, who played Mr. Brownlow in the 1922 version), who, on his ninth birthday, puts him to work in a workhouse. After running away from slave labor and deprived of more food to eat, he journeys towards London where he encounters the likes of various people, including the Artful Dodger (Sonny Ray), Fagin (Irving Pichel) and his gang of thieves consisting of Bill and Nancy Sikes (William Boyd and Doris Lloyd); Charlie Bates (George Nash); Toby Crackit (George K. Arthur); the kindly old Mr. Brownlow (Alec B. Francis) and his pretty niece, Rose Mayley (Barbara Kent), through some twist of fate would all become part of his life.

Though many feel Dickie Moore to be both miscast and way too young in the title role, this edition to OLIVER TWIST has become his most memorable, though not fascinating. Regrettably, his performance somewhat weakens the story through scenes involving him appear to be seemingly under rehearsed. Moore reads some of his lines with no expression, as if he's reciting them for the first time. In one scene he's scrubbing the brick floor of the dining room, slips down by accident, then smilingly looks towards the camera range, loses his smile, carries his water bucker and walks away. Brutal beatings are depicted by shadows of actors hitting of whipping the floor rather than their victims. The meeting place under the London Bridge at midnight involving Nancy, Mr. Brownlow and Rose as properly captured by moments of their shadows on the wall, but in spite of this being a secret meeting, Nancy should have conversed in a whispering fashion rather than loud enough for all, including one of Fagin's spies, to hear. It's hard not to notice where Moore's face, in close up, to be covered with watery tears, and next long shot, face to be clear and dry.

Aside from faults and goofs that might have been rectified before its theatrical release, as well as elimination of certain major characters from the Dickens novel, one of the stronger aspects for this production is Irving Pichel (courtesy of Paramount Pictures). Assuming a role previously portrayed by the legendary Lon Chaney a decade ago, Pichel offers an fine re-enactment as Fagin. Doris Lloyd's Nancy is believably likable and sympathetic while William Boyd (not the Hopalong Cassidy actor) is quite intense as the menacing villain who kills without mercy. He certainly must have gotten some hissing and booing from movie audiences back in the day for a scene where he attempts to kill Nancy's dog, Bullseye.

Contrary to movie remakes, it would be a matter of time before OLIVER TWIST would be retold on the screen again. Two superior adaptations followed, the 1948 David Lean British made production, and the 1968 Columbia musical adaptation to the Broadway play that won Best Picture of that year. Once watching those, it's often hard referring back to the Dickie Moore version, which, with slow pacing sans mood musical score giving it that early talkie 1929 feel, would be an endless 70 minute bore for contemporary viewers. Initially released in theaters with opening image of Charles Dickens on the book cover of "Oliver Twist," circulating prints replace that with different title placing Irving Pichel's name next to Dickie Moore's above its OLIVER TWIST title. Unseen on broadcast television since or about 1973, OLIVER TWIST, which has fallen to public domain, became readily available again in the 1980s on home video, cable television (CBN, Nickelodian's 1988-89 presentation of "Nick and Night" Movie) and public television (part of its weekly series titled SPROCKETS) before its latter transfer onto DVD, and so forth.

While this and Monogram's follow-up literary tale of Charlotte Bronte's JANE EYRE (1934) with Virginia Bruce are not perfect screen adaptations to become one of the family, it would be the major studios and made for television movies that would over the years transcribe these stories again, to much better results. (**1/2)

This 1933 film is just adequate like a detailed synopsis of the story of OLIVER TWIST. Unlike the 1948 Lean/Guiness blockbuster, or the 1968 Reed/Moody treat, this one is so-so. I only comment on it for two reasons. First Dicky Moore played Oliver (not as well as John Howard Davies or Mark Lester in the later two films. Apparently the director and producer were looking for a child star to mirror the 1922 silent film version with Jackie Coogan as Oliver and Lon Chaney Sr. as Fagin. Moore was rather stiff in the role (as were most of the performers). The second reason is that unlike the 1948 version and the musical, this film did include one of Dickens' best written chapters: Fagin in the Death Cell.

Spoiler ahead - and I apologize as I have refrained from going into it in the two earlier comments.

Fagin discovers through a spy that Nancy had contacted Mr. Brownlow and endangered the entire gang to help Oliver. Angry, he goes to Bill Sykes and tells him this. Sykes hates informers, and is doubly betrayed because he has (in his rough way) loved and protected Nancy. Fagin (in the novel) encourages Sykes to punish Nancy in a way to demonstrate what happens to informers. Sykes kills Nancy.

A hue-and-cry goes up against Sykes. Brownlow tells the authorities what Nancy told him, so the law also goes against Fagin as well (also Monk, the secret enemy of Oliver). Fagin is arrested fairly easily in the novel. Sykes is killed in trying to flee the mob.

Now in Lean's film, Guinness as Fagin did not order the murder. In fact he told Sykes to be gentle with punishing Nancy. He is trapped as the mob is breaking down the door of the warehouse he has been hiding in. Guinness suddenly shows his grit and spunk and as the door crashes demands to know what right the mob has to destroy him. We last see him arrested and taken away.

In OLIVER, the musical had Fagin and the Artful Dodger manage to evade the mob, although Fagin loses the box of stolen jewelry and watches he has kept for himself. It falls into the Thames. Dodger pulls Fagin away. They see the end of Sykes, and then Fagin considers his options. He's getting too old for this type of life. Dodger is not that thrilled about it either (they've just barely escaped with their lives from a mob). Fagin decides it's time to reform. He and Dodger go off together, presumably to try to build up a safer, more respectable life.

In the novel, there is not second chance for Fagin. He basically ordered a hit by Sykes on Nancy, and he should pay for it. He is tried for her murder, There is no Sykes to share the odium with (possibly pass the blame onto). He barely understands the trial - he's in a state of shock. So he only vaguely understands when he is condemned to death.

We see him in the cell, and he is slowly going mad. He sees the evil acts he has committed in the past, and the lack of any friends to help him (including the Dodger, who was tried and sentenced to transporting to Australia in the novel). But hours before the end, Brownlow brings Oliver to see Fagin because the boy asks him to. It momentarily raises Fagin's hopes. He whispers to Oliver a weird plan to escape the noose outside, with Oliver pretending to lead Fagin out of the cell to safety. It's too much for Oliver, and the boy cries for God to forgive Fagin's soul. Brownlow takes Oliver out, and Fagin remains to be hanged.

Oddly enough the chapter only appeared in this version of 1933, as opposed to the 1947 and 1968 films. It is not done very well - again the stiffness of the actors ruins it, but it is shown. Also the moment of the execution is brought home to the audience, when, as Oliver and Brownlow leave the prison, a black flag is hoisted up the flagpole, symbolizing the death of Fagin.

For showing that particular moment of the novel at all, I'll grant this very inferior version a five.

When it was obvious talking pictures were not going to be a fad, it was time to make sound versions of Charles Dickens' classics. In this case, the adaptation of "Oliver Twist" (1922) starring Jackie Coogan and Lon Chaney appears have been the inspiration. This revision comes from the low-budget "Monogram" studios and, while this is clearly what they would have considered a prestige production, today it comes across as cheap.

There was obviously no time for the director and performers to do more than block scenes. Some of it looks like a dress rehearsal. Most unapprised of all is "Little Rascal" Dickie Moore in the title role. However, "Oliver Twist" is actually a very difficult role to play. You have to be a young boy who can play it without gin, sex, or a beard to twirl.

***** Oliver Twist (2/28/33) William J. Cowen ~ Dickie Moore, Irving Pichel, William 'Stage' Boyd, Doris Lloyd