Oliver Twist

Polanski is the kid of guy who likes to dance on the edge. A mixture of clown, genius and artist who has suffered personal tragedy and humiliation but one who keeps cranking amazing films. This Oliver Twist is no exception. Polanski has reworked the story and taken out the 19th century coincidences, e.g., the highly improbable fact that Oliver is Brownlow's grandson and the business with the portrait of Oliver's mother, given the old tale a fresh coat of paint with new amazing character actors such as Leanne Rowe, a young and thoroughly charming Nancy, Henry Eden, a scamp of a Dodger, Jamie Forman, a repulsive Bill Sykes with no redeeming features whatsoever and the veteran Edward Hardwicke as Brownlow. But, it's young Barney Clark who steals the show. In past versions, Oliver is merely a device upon which the other array of characters are hung. We'll all remember Sir Alec Guinness, Richard Dreyfus and Ron Moody's Fagin, Oliver Reed and Robert Newton's Bill Syke, Elijah Wood, Anthony Newley and Jack Wild's Dodger but who were the Olivers? We will remember young Master Barney Clark in this marvelous, intriguing and eye-pleasing Oliver.

Roman Polanski's film is an authoritative take on Dickens' classic. It is expertly paced, slowly immersing the viewer into the plight of the young orphan and its predicament in Victorian England. Through a meticulous period reconstruction, superb acting, and effective characterization (all the secondary characters are memorable), the typically Dickensian theme of the survival of Innocence against all odds is dramatized with utter conviction. The omission of the excessively melodramatic elements from the original story (Oliver's family back-story for instance) contributes greatly to the story's strength by minimizing any trace of implausibility or mawkishness, thus providing a wide-ranging portrait of the Victorian society with its intrinsic inequalities and its rather warped sense of justice. The visuals are splendid and the prevalent detached and non-judgmental approach to an easily emotive story is simply the signature of master director Roman Polanski, who is functioning here on top form.

There was little that Charles Dickens didn't know about human nature. Who better to interpret his work for the screen than the similarly gifted Roman Polanski.

Polanski's film allows everyone their humanity. Even the extras who people the immaculately designed sets, seem to have a life outside of this film. Ben Kingsley's performance as Fagin is not held in aspic in old age, but is full of hints about his earlier life. Oliver's sufferings seem to mirror that of children in many places and in all times. When it is alleviated it is not by those worldly motivations of charity or civil duty. While a carriage full of prosperous people studiously ignore his plight, a poor old woman who has little herself cares for him. While the wealthy city is content for him to die on the street, a criminal feeds him. When Oliver finally takes his place in the middle class, a priggish religiosity reminds us of Victorian society's cure for criminality. In the end Polanski knows and Dickens asserts that individual decency and humanity alone provide hope.

Roman Polanski never ceases to amaze me at all the things he can do. He can make so many different kinds of films well. His range is truly extraordinary. The man who gave us Chinatown, Pianist, Rosemary's Baby has now directed Oliver Twist. I've seen most of the versions of Twist but this is by far the best. David Leans version is often talked about but it is overpraised. It tends to be overly sentimental an very slow in certain places. I'm not for fast moving movies but his version can be quite dull at times. Polanski's film has updated a great story with lush photography of pastoral settings and the narrative moves briskly. He manages to develop the characters quite well despite the pace. The acting from all is superb especially Ben Kingsley who is barely recognizable. I've never been a fan of great books that have been adapted to film but Polanski seems to have a real knack for this sort of thing. He filmed Tess (also an adaptation) 25 years back with an Academy award nominated direction. That film is one of my all time favorites but Oliver Twist is even better. Polanski seems to get better with age. I can't wait to see what he does next.

I was somewhat ambivalent about the thought of one of my favourite directors making a version of the much loved classic tale Oliver Twist. On the one had Roman Polanski crafts wonderful and moving films extremely well so I was intrigued to see how he would weave this one together. From his early 'Knife in the water' through to 'The Pianist' each has his trademark directorial stamp on it whilst still being truly incredible and individual films. On the other hand, the Oliver Twist tale has been screened to death both in two highly regarded films as well as multifarious TV versions over the years. In my opinion David Lean's version is fantastic, Alec Guiness superb as Fagin and the whole film experience has kept me going back from childhood through to adulthood.

So it was with great trepidation that I went to see this spanking brand new version and thankfully I was not disappointed. The character of Fagin, so crucial to the story, is performed with outstanding ability by Ben Kingsley. He really portrays this grotesque but somehow lovable character well from his slight mannerisms and movements to his vocal abilities. Also, finely performed were the parts of the artful dodger (Harry Eden), Mr Brownlowe (Edward Hardwicke) and of course Oliver Twist (Barney Clarke). There was such sadness and despair in his eyes throughout that he really captured the part well. Less convincing was Bill Sykes (Jamie Foreman) who was not right for the part nor performed well enough to stand up against the masterful Oliver Reed in a previous version. Foreman is a regular in gangster type films and for me did not really fit into the cast or film well here.

The recreation of mid 19th century London is done well with Polanski drawing on the visual inspiration of Dore prints of the period for authenticity. The cinematography is as accomplished as always in a Polanski film and the lighting helped to create dramatic moods well.

All in all a very competent and entertaining version with great acting, a fine pace and an outstanding final scene of Fagin finished and soon to face death gripping hold of Oliver tightly. I would highly recommend to adults, children and die hard fans of other versions. All great directors have different visions and Polanski has used his vision and experienced craftmanship in successfully remaking this much loved tale.