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Charles Dickens’ “Oliver Twist” first appeared in a magazine in 1838. Since then, 13 motion narrate versions have graced the silver cover. Perhaps the uncontested classic was released in England in 1948. David Lean stands within a itsy-bitsy circle of 20th Century film directors who could literally paint with a camera. And paint he did. Dismal and changeable, his “Oliver Twist” opens in an English countryside storm, as a pregnant young girl seeks shelter from the squall. She is about to give birth to Oliver Twist. Intentionally quiet, there is no dialogue until seven minutes into the fable. The stage is situation for gothic heinous and tragic foreboding. Lean auditioned 1500 boys for the lead role, but complained that, in each case, “there was nothing in the eyes”. He eventually settled on 8 year-old John Howard Davies. Hard-drinking Robert Newton plays Bill Sikes. Alec Guinness appeared in 6 David Lean productions. His second was here as Fagin. Future movie beauty Diana Dors has a petite piece. Peter Bull and Francis L. Sullivan are outstanding in supporting roles. Filmed in the shadows of St. Paul’s Cathedral, “Oliver Twist” reveals the circuitous, seamy London backwaters of the 19th Century. I have to say it. The extras for this Criterion DVD are rather “lean”. However, it does gain a trailer, and 12 minutes of film censored from the unique 1951 U.S. release. These scenes reveal Fagin giving a pick-pocket lesson, and counting his jewels. Charles Dickens and David Lean were objective at the beginning of their long and prodigious careers when each released their absorb versions of “Oliver Twist”. Amazingly for both, the best was yet to reach.
It’s hard to know where to launch in explaining what makes David Lean’s “Oliver Twist” one of the most nearly perfect films ever made. It is a work of art and inspires fear in its every aspect. The gloomy and white photography is shimmering, and the account is told as noteworthy visually as in dialog. The music is bright and triumphant one dinky, eerie and chilling the next, perfectly augmenting the visual mood. The acting is capable, the characterizations unforgettable. Alec Guinness IS Fagin, Robert Newton IS Bill Sykes, the amazing Francis L. Sullivan IS Mr. Bumble. No other actors have ever approach discontinuance to delineating those characters as well, nor could they after these hallmark performances. This movie is seeping with art, yet the art is non-intrusive. Rather, the film is an awe-inspiring delight from beginning to extinguish.
As for the Criterion DVD, it’s a very beneficial transfer from what was probably the best print available — a splendid righteous print considering its age. Regarding brightness and incompatibility, all the beauty of the dismal & white photography seems to have been preserved, and the sound, although only as pleasurable as 1948 standards, is not distorted and does not unduly diagram attention to itself.
If you like movies, this DVD should be in your collection if only for its tantalizing inequity with some of the novel color epics you undoubtedly acquire. If you have never seen it before, be forewarned that there are scenes in this masterwork that will permanently notice themselves into your brain, to be recalled later by association many times in your life when similar images are seen, and when similar music is heard.
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This is not impartial a stout movie — it’s an distinguished and unforgettable experience.
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