Oliver Twist

The BBC really know how to 'do' Dickens.

From Dudley Simpson's haunting title music to Eric Porter's sinister Fagin, this is truest adaptation of the book that I know.

The production values are spot-on, capturing the filth and seediness of Dickens' London. Michael Attwell is the most menacing of Bill Sykes and Ben Rodska makes Oliver innocent without being too goody-goody.

If that were not enough, the length of the production (6 hours) means that, for once, the sub-plots are included and the main plots are laid out as Dickens wrote them.

If 6 hours is too long then David Lean still represents the safest bet but, for the purist, this will probably never be improved upon.

It is not easy televising Dickens. His novels are so vivid you have a picture of the characters in your mind. This series uses its 12 29 minute parts to make the images its own and enhance them. I could get carried away with superlatives so let's look at the negatives which really centre on the Maylie household. This takes up the best part of 2 or 3 episodes and is pretty dull. The first couple of episodes are difficult but that is part of the acclimatisation process noted above. Now onto the superlatives.

The BBC has done an amazing job in conjuring up both the riches of the middle classes but more importantly the desperate poverty on the streets. The state of Fagin's quarters and Sykes' disgusting one room hovel are hard to contemplate. The state of the Thames is reminiscent of Dickens' telling.

The acting is top class. Too many to mention but Eric Porter as sly, devious, charming and mercenary Fagin is one, Michael Attwell brings menace to Bill Sykes. Pip Donaghy triumphs as Monks. Godfrey James as bully boy Mr Bumble and Miriam Margoyles as his soon to be domineering wife. The list goes on. So refreshing to see a case of actors building on substantial roles.

The story is modified: Betsy disappears altogether and Monks takes on a starring role. The last few parts are riveting as the net closes. I could go on. TV does not get much better

OLIVER TWIST films live or die by their Olivers and this ultra-faithful six-hour British mini, dies with two inadequate Olivers. Not that the rest of the cast does much better. No one seems able to sustain the heightened characterizations Dickens needs, giving us a sort of loud, generic hamminess that quickly wears out its welcome. Even so, it's a treat to (just once) get all the story (the Artful Dodger has some surprising character turns), and it's certainly preferable to a recent mini-series which added a 'clarifying' preface. Memorable versions by Frank Lloyd, David Lean & Carol Reed each lose almost half of the story; for the better say I. With early Dickens, small sins of omission do wonders for story construction, especially in keeping Oliver in personal danger for the climax.

I've seen a bunch of the others. This takes its time setting the long suffering Oliver and the terribly low characters persecuting him. The ending is more earned than the confines of appears in other versions. Great script and solid production for BBC 85.

This version keeps a lot more of the novel than most, but most of this material lacking in other versions covers the Maylie sub-plot, which is mawkish and conventional Victoriana.

Many reviewers have commented that the series does not stint on the squalor of Hanoverian London (the action takes place in pre-Victorian times). I actually disagree and feel that it sanitizes things. Reviewers write of the "cramped" rooms when I thought they were were more spacious than many a million pound flat in today's London.

The direction, camera-work and score were plodding TV quality only, and the actors in some parts unsubtle. Bill Sykes looked the part, and for once you could see why Nancy might have been attracted to him, but his acting skills were one-dimensional. I liked Eric Porter's Fagin. It was based on the Guinness version, but without the anti-semitic element which is embarrassing in the earlier movie.

Too many of the children's roles suggested middle-class kids from drama school.

I give the makers credit for faithfulness and not attempting smart-ass interpolations or anachronistic social comment, and maybe enjoyment would be enhanced by watching in the original 12 half-hour episodes, but viewing it purely as a "movie" it is fairly dull, especially compared to David Lean's masterpiece. Sharper editing would help to speed things along.