Oliver Twist

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.

Still the most Dickensian of all the Oliver Twist films David Lean's inspired version, never the less is much indebted in its style to the German Expressionist Cinema. It's London is more related to Fritz Lang than Victorian England but the spirit of Dickens is alive and well in the accurately drawn caricatures from the novel. Outstanding performances by Francis J. Sullivan as ridiculous Mr. Bumble, Alec Guiness's chillingly evil Fagin despite a badly judged nose job, and the eye boggling twitching Robert Newton as the ferocious Bill Sykes. Even his dog trembles at his temper, in fact the dog is a major actor in this version.

John Newton Howard is a rather angelic Oliver, with a more refined delivery than one would have expected from a workhouse background. But it all goes decidedly well thanks to Lean's superb direction, stunning images, clever editing and a sterling cast. Viewed today so many years after it was filmed it remains the most vivid and Gothic recreation of the story. Probably Charles Dickens would approve. The heroic length recent version by Roman Polanski is generally faithful to the novel but lacks the pizazz and humour that is in Dicken's writing. David Lean made only two excursions into Dickens (Oliver Twist and Great Expectations) both milestones in cinema. One can but wonder how well he may have brought Bleak House or Our Mutual Friend to the screen.

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.

This excellent film is part of a duo of Dickens' books turned into silver screen magic by David Lean in the 1940s (Great Expectations with John Mills is the other).

Keeping to the spirit of the book (although not leaving the bleak ending intact) it allows us to follow the fortunes of young Oliver (John Howard Davies, who later gave up acting to become a big shot at the BBC), through his unhappy years at the orphanage under the watchful eye of the Beadle (the huge Francis L Sullivan, who played many similar roles throughout the decade), to his association with boy thieves under the thumb of Jewish money-dealer Fagin (Alec Guinness, in one of his career highlights).

The casting is generally superb - Kay Walsh (then Mrs David Lean) is effective as Nancy, while Robert Newton is suitably unhinged and menacing as Bill Sikes. In the undertaker's, Diana Dors is showy as Charlotte the maid; while in London, Anthony Newley makes an early scene-stealing Artful Dodger (like Jack Wild in the musical version, this Dodger isn't all bad and wants to make sure Nancy and Oliver are all right).

'Oliver Twist' is one of the greats of British cinema and does justice to a complex book. Highly recommended.

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.