Oliver Twist

When his mother just about makes it to the workhouse before giving birth then dying, Oliver Twist is born into the only world he has ever known – the workhouse and poverty. When he draws the short straw from among the children, Oliver asks for more food at dinner and promptly finds himself up for sale for £5 to any honest trader willing to take him in. Oliver is taken to work for an undertaker until a fight over his mother makes him run away to London where the masters will never find him. Taken in by Fagin's group of child pickpockets, Oliver starts to settle in, until a brush with the law starts to bring his family history to the attention of those lacking scruples.

Watching this film now (or indeed at the time of its release in the UK) it is hard to imagine that it would have sparked a riot in Berlin in its first showing in 1949 or that it was banned for two years in America on the grounds of being anti-Semitic and was only released after significant cuts (10 minutes) had been made. Of course the cynic in me would suggest that the US was making any excuse to limit British films in its cinema due to competition (they don't need to do that any more!) but I guess history is written by the winners and Hollywood is definitely winning that battle. Ironically enough the film was also banned in Israel and Egypt because of Fagin – with Israel claiming that Fagin was anti-Semetic and Egypt claiming he was too sympathetic. Any roads, regardless of the historical controversy this film is still considered by many to be the definitive version of Dickens' story and often is in top ten or so when polls for 'greatest British films' are carried out. The plot is dark and sombre as befits the source material, painting a dark world of thieves, poverty and workhouses within which the story of Oliver and his destiny are told. In essence it is a simple story but it is the atmosphere and characters that make it more interesting.

This may have been as successful as some of Lean's other films due to the daft controversies around it, but his is still a very effective job as director. The film feels Victorian and hopeless – just like the lives of those in the story, and Lean creates a real atmosphere of despair and fear that is enjoyably dark and has moments that I was surprised to see in a film of the period. The cast do well with the characters and are a big part of its working. Ignoring all the hysteria over 'bad' characters being ethnic (good to see things haven't changed that much), Guinness is good as Fagin and doesn't allow himself to be just a ethnic stereotype – he is exploitative but he is also human and we get to see him as just being somebody else's 'boy' as well as Oliver. Newton is who I see when I think of Bill Sykes and Davies is a good Oliver even if his accent is way too posh for a workhouse baby and the film tends to lose him among all the more interesting and seedy characters we come across. Support is good from the likes of Walsh, Sullivan, Newley and others, all combining to produce a colourful collection of dark characters in the seedy streets of London.

Overall this is a good story even if it loses the Oliver story halfway through for a while in favour of the other characters. The direction is great and the whole film is dark and atmospheric. The acting is roundly good and supports the wealth of seedy characters on which the film is built.

I'm not a massive fan of Dickens by and large but if I want to see a version of this story then this is the film I return to.

Charles Dickens and David Lean. What a combination; a novel by one of the greats of 19th century literature brought to film by one of the 20th century's best directors. Can't miss? You're right; David Lean's "Oliver Twist" is a great movie. The casting and acting is superb, every role a standout. I'd read "Oliver Twist" years ago, and watching the movie transported me back to the Victorian London of the novel. Alec Guinness is the perfect Fagin, after seeing this version I can't think of any other actor ever playing him. Bill Sikes, Nancy, Artful Dodger, Mr. Bumble, and of course Oliver. All perfect. The direction is without peer. The sets and cinematography resemble the best of German Expressionist work from the previous generation. Buildings at odd angles, light playing havoc with the dark shadows. I'm blathering....

My recommendation is to dig this up in the classics section of the video store and treat yourself to an oldie but a goodie.

After viewing over 10,000 movies, I still have the same opinion I had after I saw this movie the first time and had watched maybe a thousand films at that point: this is simply the best-looking black-and-white film I've ever seen.

On the Criterion DVD, scene after scene is just jaw-dropping. I have never seen so many incredible shots with wonderful contrasts of light and dark. Much of this is filmed dark rooms or nighttime in the cobblestone streets. Those scenes, combined with many facial closeups, great buildings, and interesting camera angles, all make this an incredible viewing experience.

All of this helps make up for watching a depressing story. It was just unappealing, at least to me, because all the people except for the little boy are unlikable. Some of them mistreat the little kid and that's difficult to watch. I'm a sucker for nice people, especially an innocent child, and to see suffer is not fun to me.

One of those bad guys, however, is memorable: Fagin, played by Alec Guiness. In this film, he has to be one of the ugliest people I've ever seen, sporting the biggest nose ever put on screen. A teenage Anthony Newley as "the artful Dodger" also stands out.

But, as someone who is into art, David Lean's direction and Guy Green's camera-work draw me back to this DVD every couple of years...and at least I always know there is a happy ending for the one nice kid in the film.

David Lean's adaptation of "Oliver Twist" is the perfect screen version of a wonderful novel. Dickens' world comes alive through the acting, writing, and settings, making it not only a faithful realization of the atmosphere of the original, but also a joy to watch. The story of the young orphan Oliver, caught among a band of thieves while longing for a home of his own, is one of Dickens' most melodramatic, a story that loses all effectiveness and believability if not told with great skill. Dickens' own great writing made the original succeed, and this screen version succeeds because it too is done masterfully.

While some details have been necessarily changed for cinematic purposes, the world of the film is all Dickens. The acting in this film is wonderful - the actors are true Dickens characters, from Robert Newton (Sikes), Alec Guinness (with some wild make-up, as Fagin), and young John Howard Davies (Oliver), to all of the minor roles. They are all just slightly exaggerated, which makes them perfect renderings of the way that Dickens designed his characters. The settings are also perfect, from the bleak workhouse at the beginning to the labyrinth of decrepit rooms and passageways where Fagin's gang hides out.

Those who love old-fashioned stories like "Oliver Twist" will find this movie to be a perfect realization of the world of the original novel. It is a memorable and enjoyable film.

David Lean's adaptation of Charles Dickens' most irresistible tale must rank as one of the most astounding masterpieces in all of cinema.

Every detail is wrought with the most painstaking detail and nuance. There are many scenes which stand out but none is more exhilarating as the astounding ending when it appears as if all of London has come out to rescue our hero.

My favorite aspect of this film has to be the depiction of a London in which we have all dreamed of living: gritty, lusty, ugly, beautiful, attractive, repulsive but most of all, exceptionally unique and endearing - yet with pomp and poverty existing side by side.

Oh, so much to say about this film. One runs out of words.

Every performance remains in one's memory, every image in one's heart.