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ASIN : B00004CJO5
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Editorial Reviews
Amazon.co.uk Review
There have been many film and TV adaptations of Oliver Twist but this 1948 production from director David Lean remains the definitive screen interpretation of the Charles Dickens classic. From the ominous symbolism of its opening storm sequence (in which Oliver's pregnant, ill-fated mother struggles to reach shelter before childbirth) to the mob-scene climax that provokes Bill Sikes's dreadful comeuppance, this breathtaking black-and-white film remains loyal to Dickens while distilling the story into its purest cinematic essence.
Every detail is perfect--Lean even includes a coffin-shaped snuffbox for the cruel Mr. Sowerberry--and as young Oliver, eight-year-old John Howard Davies (who would later produce Monty Python's Flying Circus for the BBC) perfectly expresses the orphan's boyish wonderment, stern determination and waifish vulnerability. Best of all is Alec Guinness as Fagin, so devious and yet so delightfully appealing under his beak-nosed (and, at the time, highly controversial) make-up. (Many complained that Fagin's huge nose and greedy demeanour presented an anti-Semitic stereotype, even though Lean never identifies Fagin as Jewish; for this reason, the film wasn't shown in the US until three years after its British release.) Likewise, young Anthony Newley is artfully dodgy as Fagin's loyal accomplice, the Artful Dodger.
Guinness's performance would later provide strong inspiration for Ron Moody's equally splendid portrayal of Fagin in the Oscar-winning Oliver! and while that 1968 musical remains wonderfully entertaining, it is Lean's film that hews closest to Dickens' vision. The authentic recreation of 19th-century London is marvellous to behold; Guy Green's cinematography is so shadowy and stylised that it almost qualifies as Dickensian film noir. Lean is surprisingly blunt in conveying Dickens's theme of cruelty but his film never loses sight of the warmth and humanity that Oliver embodies. --Jeff Shannon
Amazon.co.uk Review
An astonishingly good David Lean double-bill featuring his two Dickensian adaptations, Great Expectations (1946) and Oliver Twist (1948), this is a reminder that cinema does not necessarily have to debase its literary sources, sometimes it can enhance them. Lean's painterly eye for evocative locations--be they windswept marshes or bustling London streets--provides the backdrop, but his focus on smaller details--the ominous tree in the graveyard with its almost human face, the reaction of Bill Sikes' dog to Nancy's murder--adds the vital ingredient that brings both place and character to life.
Starring a youthful John Mills as Pip, Lean's Great Expectations is an unadulterated delight, a serendipitous gelling of screenplay, direction, cinematography and acting that produces an almost perfect film. The cast is exemplary, with Alec Guinness in his first (official) role as Pip's loyal pal Herbert Pocket; Martita Hunt is a cadaverous Miss Havisham; Finlay Currie transforms himself from truly threatening to entirely sympathetic as Magwitch; while the young Jean Simmons makes more of an impact as the girl Estella than Valerie Hobson does as the older incarnation. Perhaps best of all, though, is Francis Sullivan as the pragmatic but kindly attorney Jaggers.
The cinematography alone (courtesy of Guy Green) would qualify Oliver Twist as a classic: the opening sequence of a lone woman struggling through the storm is an indelible cinematic image. Fortunately, Lean's film has many more aces up its sleeve thereafter, notably Alec Guinness' grotesque Fagin--a caricature certainly, but a three-dimensional one--and Robert Newton's utterly pitiless Bill Sikes. The skewed angles and unsettling chiaroscuro lighting transform London itself into another threatening character. --Mark Walker
Synopsis
Dicken's immortal story of a young orphan boy forced into the company of thieves and cut-throats.
Customer Reviews
Classic adaptation (2008-06-16)  Dickens' tale of workhouse dehumanisation, middle-class arrogance, urban poverty, street crime and domestic violence balanced against moments of extreme tenderness and altruistic warmth is superbly conveyed in Lean's monumental cinema adaptation. Although significant parts of the novel are missing, such as the events occurring during Oliver's walk to London and his involvement in a botched house robbery in Chertsey, the overall impression is one of an enormous sensitivity to Dickens's work, particularly the characterisation - the fragile, victimised Oliver, the monstrous but likeable Fagin, the harrowing Bill Sykes and his wonderful dog Bulls eye. I recommend a look at Cruikshank's drawings which accompanied the novel - the likenesses to the actors in the film is remarkable. Cinematic moments of genius include the opening sequence with Oliver's mother, the snuffed out street lamp after Nancy's murder and Bulls eye's betrayal of his master. The foreshortened sets depicting the squalor and claustrophobia of early nineteenth-century working-class London are incredibly realistic. And to think this was all filmed in a studio lot at Pinewood! For me this is the best Oliver Twist on celluloid - I only wish David Lean had the time and money to make a much longer film and include all the bits of the novel that are missing.
Best movie ever made of a Dickens Novel (2007-10-07)  As I said in the title, this is the best ever film-version of a Dickens novel. Oliver Twist expertly tells the story of this enormous novel in less than two hours' screen time. We start with baby Oliver left on the doorstep of an orphanage by his unwed mother. Proving a difficult charge to the wicked orphanage official, Oliver is sold into a job as an undertaker's apprentice. He then runs away and joins a gang of street urchins, led by master pickpocket Fagin . Oliver is rescued from this life; but, with the help of Bill Sikes, Fagin abducts Oliver. Sikes' girl friend Nancy does all she can to restores Oliver to his home. This leads to Oliver going home, but to her death.
David Lean's does Dickens again with more great results (2002-04-06) David Lean returned to Dickens domain two years after the release of 'Great Expectations' with this, another classic adaption. Although it is perhaps not as spellbinding as his previous adaption it is still an excellent film with a superb cast. Alec Guinness (only 34 and at the beggining of his spectacular film career) makes the definitive screen Fagin, Robert Newton seems to have been born to play Bill Sykes, John Howard Davies (later a TV producer) makes an effective Oliver and Kay Walsh makes a fine Nancy. Another great aspect of the film are the sets (designed by John Bryan) which perfectly recapture the grimy buildings and streets of Victorian London. This is the definitive screen version of Dickens tale so far (although musicalising it in 'Oliver' was an effective move) and it seems quite dissappointing today that Lean never returned to Dickens territory.
An unforgetable story of love, cruelty and comedy. (2001-06-02) Most definately the best adaptation of Dickens' novel. The opening sequence builds up a great sense of horror and drama which keeps you on the edge of your seat. Frances Sullivan is wonderful at playing the cruel but comical beadle. He and Mrs Mann are a great contrast to each other and make a great double act on screen. Perhaps the best and most memorable actor from this film is the wonderful Sir Alec Guiness who is so convincing as the roguish but kind Fagin - and who would guess that Sir Alec was only 22 at the time of playing the character! Robert Newton is also convincing as the horribly cruel Bill Sykes - he livens up the screen with his cruel ways and bad manners and scares the life out of the viewer with the horrifying murder of Nancy. Right up until he dies he holds the screen in the palm of his hands and never fails to frighten or shock the viewer. Of course I must credit John Howard Davies who played the orphan Oliver brilliantly and held you, the viewer in the palm of his hands. One thing that has made the film so successful is the ammount of research the director has put into the film, the sets are magnificent and very believable for its day. Even down to the coffin snuff box of Mr Sowerberry - every prop is true to the story and makes the film all the more believable.
19th Century Realism brought to life (2000-10-02) The director David Lean made this genuine classic after the war, based on a book by Charles Dickens. This book shocked the Victorian public at the time because it was too 'real', and showed the degradation and poverty suffered by children who were too poor to be considered important. The acting was exemplary by all the cast; special mention must go to Kay Walsh as the kind hearted Nancy, who suffered at the hands of her brutal boyfriend Bill Sykes [Robert Newton]. Surely the scene of her murder at his psychotic hands ranks as one of the most violent scenes ever committed on screen. Also, a mention for the late Alec Guinness in a truly horrid portrayal of Fagin, and the youngster John Howard Davies as the young hero Oliver.
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