Oliver Twist

I feel sorry for anyone who makes his first acquaintance with Dickens' classic through this ill-conceived version that tampers irreparably with the original story.

The first mistake was hiring a screenwriter best-known for work on a British soap to write the script. She felt obligated to make it more "hip" by inserting words and dialog that aren't appropriate to the time period, and by completely twisting parts of the plot and some of its main characters. For instance, the comic subplot of Bumble and Corny leaves out some of the best scenes, and instead "sexes up" the Widow Corny. And Oliver himself is changed from a lost innocent into a smart-mouthed punk. (PS - I know that Corny is spelled with an "e" but IMDb's spell- checker keeps changing it.)

The casting doesn't help. Timothy Spall, who is wonderful in almost everything he does, never seems to settle in to the character of Fagin, and the make-up and hair artists make him look like an ugly fat woman most of the time. Nancy has changed color, Bill Sykes is nothing more than a yobbo, not the looming villain so well-portrayed by Oliver Reed in the musical version. Even the reliable Edward Fox turns in a two-dimensional performance as Brownlow.

The music score is also horrendous, jumping from style to style but never anything remotely Victorian. (Electric guitar? Banjo? Steel drums?)

I don't have a problem with making new versions of classics. I also don't have a problem with updating classics, as in WEST SIDE STORY or even Baz Luhrman's ROMEO + JULIET. But what we have in OLIVER TWIST is a warped classic, a hack's idea of making a great plot more palatable for the 21st-century audience. You can change the ambiance or the costumes, but don't give us a new story and claim it's a classic. This type of bilge is running rampant in current British productions (Wuthering Heights, Marple, etc.). Seek out an older version for something that resembles the original, or at least holds the original in high regard. The director and screenwriter for this production obviously see Dickens as raw material to be improved upon. The joke is on them.

Awesome version of a classic! Costumes, scenery, acting, all phenomenal. Very good production. Definitely the best version of Oliver Twist out there. Wish the same crew would make a version of all the Charles Dickens classics!

I'm surprised that this adaptation of the Dickens classic has received so many negative reviews and that there are comparisons with the musical which is a whole different type of production. All the performances are very strong, although I think that the Artful Dodger could do with a few more acting lessons. I thought that Tom Hardy, Sophie Okonedo and Timothy Spall were particularly outstanding. Viewers seem to expect the characters to be fairly one-dimensional and stereotyped - just because Bill Sykes is a psychopath doesn't mean he has to yell all the time! I think that the director did a good job of portraying the harshness and grime of Victorian London and the cruelty and depravity of the era also. I don't want to see Dickens adaptations through a soft focus lens, this is what I want from a period piece. I do agree about the randomness of the music though.

This is a fairly well-made version of an old chestnut. Casting and sets are up to BBC's usual high standards, just the music made me pause sometimes (sort of New Age klezmer). The story has a great flaw: the scenes in Mr. Brownlow's house are dull and uninspired, while the scenes in the orphanage and Fagin's hide-away are bursting with life. It's as if Dickens could only trust the criminal side of the story to be truthful. The lop-sided story is still very moving.

I liked Timothy Spall as Fagin very much; he went far to erase some faint memories of Alec Guinness in the part. Spall is more subtly Jewish than Guinness was. Sarah Lancashire is riotously funny, and quite vicious too, as Mrs. Corny. Julian Rhind-Tutt is appropriately villainous as Monks.

Not the greatest production of Dickens' classic, let down in the main by mixed acting and an over-intrusive musical score at odds with the period in which the drama is set. The casting is unusual to say the least, in particular a coloured actress plays Nancy and although Sophie Okonedo acts well she doesn't quite carry off the novelty. Also Gregor Fisher is unconvincing as Mr Bumble, Edward Fox barely registers any emotion in his part and Tom Hardy as Bill Sykes fails to demonstrate the innate psychopathy, indeed the way the part is played, you almost feel the director is straying dangerously close to glamourising and thus garnering sympathy for what is, on the page a yobbish brute. The whole is dominated by Timothy Spall's take on the Fagin part. For me he grossly overacts in a very mannered way and repels this viewer with some slightly distasteful mannerisms. Better are Sarah Lancashire as Bumble's selfish scheming wife and Rob Brydon in a fine comic turn as a judge with attitude but against that, the child acting is very poor, they merely seem to read their lines, certainly no Jack Wild here and the only really imaginative scenes are those where the murdered Nancy's ghost haunts Sykes as he takes Oliver hostage on his escape to the country and back. This was a made for TV mini-series and it shows. A great story reduced in the re-telling.