OLIVER TWIST
UK/France, 2005, 130 minutes, Colour.
Ben Kingsley, Barney Clark, Leanne Rowe, Mark Strong, Jamie Foreman, Harry Eden, Edward Hardwick, Ian Mc Neice, Jeremy Swift, Frances Cugat, Alun Armstrong.
Directed by Roman Polanski.
Oliver Twist is probably the most widely known of Charles Dickens’ novels. One of his earliest, it was published in serial form in 1837, the year Queen Victoria came to the throne. The 1830s saw reform of laws concerning the poor and their support and the introduction of the parish workhouses for orphans. While reform might have been the ‘buzz-word’, the reality of life for the poor was still harsh. Dickens, a parliamentary journalist, took social reform causes to heart and made them the core of so many of his novels.
In the climate of current awareness of the abuse of children and, in so many countries, their exploitation, the story of Oliver Twist is still relevant.
For older filmgoers, there are the powerful memories of David Lean’s 1948 classic with Alec Guinness’s memorable portrait of Fagin. For both older and younger audiences, there are the memories of the film and stage versions of Lionel Bart’s musical Oliver with so many of its hummable tunes and their lyrics commenting on Dickens’ characters: Pick a Pocket or two, I’d do anything, Consider Yourself… These images influence our appreciation of any new version.
Playwright Ronald Harwood (The Dresser, Oscar for The Pianist) has streamlined the plot (omitting the story of Oliver’s mother and Dickens’ delight in coincidences). Director is Roman Polanski who has stated that he wants this to be a children’s film, a child’s view of Fagin and his gang, a touch of fantasy that is larger than life. With marvelous sets, costumes and Rachel Portman’s Dickensian score, he has created a nineteenth century London that feels authentic.
Polanski is no stranger to English literature, aside from such classics as Repulsion, Rosemary’s Baby and Chinatown, he has directed Macbeth and Thomas Hardy’s Tess for the screen.
Two problems face a director of the Oliver Twist story. The first is how to present Oliver himself. John Howard Davies for Lean and Mark Lester for Oliver were both genteel little lads with a woebegone look and manner. The danger is that Oliver becomes too sweet and, even, insipid. Here, Barney Clark’s Oliver is much stronger. We are given quite a few sequences in the workhouse and the funeral parlour where his actions show some inner fire. He is always well-mannered and appreciative with an innate goodness. But he is strong.
The other problem is how to present Fagin, especially his Jewish identity and manner. Dickens himself is said to have toned down his portrait after receiving feedback that it could be construed as anti-semitic. The same was said, and continues to be said, of Alec Guinness’ performance. While Ben Kingsley as Fagin continues the tradition, Harwood and Polanski (both Jewish) have emphasised his kindly behaviour towards Oliver (which is how Oliver sees him) as well as his ruthlessness in setting up Oliver to be killed by Bill Sykes.
Jamie Forman is less frightening than Robert Newton or Oliver Reed but his Bill Sykes is no less menacing. Leanne Rowe is younger than the usual Nancy and a reminder of how young girls were trapped in prostitution at that time. A fine group of British character actors fill out the supporting roles, chosen not for their film star appearance. Rather, the contrary, many of them look quite eccentric, even grotesque – which Dickens would have liked.
While the film has a PG rating and many of us saw Lean’s film when we were young, the subject matter and some of the treatment as well as the violence at the end might make parents wary about whether younger children might be frightened by it. It is meant to be a compliment to Polanski’s talent in bringing Dickens to life to say that they might well be frightened.
1.The popularity of the novel? Dickens’ perspective, 1837 and the state of England, social concern and reform? Dickens’ novels, serials, their impact?
2.The many versions on-screen, films and television? Audience familiarity with the story? David Lean’s version? The musical?
3.Oliver Twist for the 21st century, the situation of social reform, the abuse of children, children in different countries and the workforce? Stealing, manipulation by adults? Relevance?
4.Charles Dickens and his narrative, familiarity? The omission here of the background story of Oliver’s mother? The coincidences?
5.Polanski wanting to have a child’s view of the story and characters, the touch of fantasy, larger than life? Like and dislike of characters, especially Fagan?
6.The response of children, to the situations, Oliver’s plight, the characters, the violence?
7.The elaborate sets, the use of Prague? The workhouse, Fagan’s home, the market, the shops, the funeral parlour, Mr Brownlow’s, Toby Crackett’s house? The docks? The countryside, the country homes, the city? The 19th century? Rachel Portman’s Dickensian score?
8.An authentic atmosphere, the characters and events as real, actual rather than fiction?
9.Mr Bumble and Oliver, Oliver at ten, going to the workhouse, the system for the parish to support the orphans, the law reforms? The parish board, their huge meal, their harsh judgments, attitudes towards the orphans, the hard work of the orphans, the rope, so many of them? Their sore hands, the night and the starving boy, the gruel and the Grace by the parson, the short straw and Oliver asking for more? The supervisor’s reaction, wanting the boys to be grateful, this kind of existence for the children, no hope?
10.The board, taking Oliver to the magistrate so that he could be an apprentice to the sweep? Selling him for an apprentice? Going to the funeral parlour, the food, the fight with Noah, Charlotte and her attitude, the Sowerberrys, Mrs Sowerberry and her severity, Mr Sowerberry and his friendship, yet having to cane Oliver? Oliver in the processions, his running away?
11.Going to London, the rain, hunger, his tattered shoes, bloodied feet, the old lady who welcomed him in?
12.In the market, resting in London, the encounter with Dodger, Charlie? Watching them steal, his delight? Being taken to Fagan, part of the household, his being tired, sleeping, seeing Fagan look at his treasures? Picking Fagan’s pocket?
13.Fagan, his age, appearance, the Jewish issue and antiSemitism? His greed, his relationship with the boys, exploiting them? His treasures? Nancy and Bill? His way of life, talking to the boys? His reaction to Oliver being caught, callous and planning Oliver’s death with Bill?
14.The boys stealing, Mr Brownlow, the bookseller, the chase, Oliver caught? The magistrate and his severity, even with Mr Brownlow? The police and being more kindly? Oliver’s collapse, Mr Brownlow taking him home? Mr Brownlow and his friendliness, trust, Mr Brownlow’s friend not trusting? Giving Oliver the books, the money? Oliver in court, Nancy and Bill watching, taken back to Fagan?
15.Nancy, her age, prostitution, relationship with Bill? Not wanting to retrieve Oliver, her performance as his sister, the police station? The change of heart, hearing the plans, going to visit Mr Brownlow, the rendezvous at midnight and her trying to get out, meeting with Mr Brownlow?, the Dodger trailing her for Fagan? Bill and his bludgeoning her to death?
16.Mr Brownlow, his kindness, the housekeeper, his friend? A way of life? Trust? Going to London Bridge, the chase and recovery of Oliver, taking him to the prison to see Fagan?
17.Bill Sykes, evil, harsh, treatment of Nancy, the fencing of the stolen goods? The dog? The relationship with Dodger, the other boys? Dodger repelled by Bill’s killing Nancy, his turning against him? Bill and going to the country, hiding?
18.The robbery in the Brownlow household, Toby Crackett and his style, fashionable? Oliver being wounded, their tending his wound?
19.The dog and his role, Bill trying to drown the dog, his running away, leading people to Bill and Fagan?
20.Fagan and the boys, the escape, at Toby Crackett’s, the fears, the darkness? The police and the crowds? Getting the boys out? Fagan and his box? Bill taking Oliver, across the rooftops, the rope and his hanging?
21.Fagan, in jail, his mental collapse, Oliver’s visit, telling him about the box and giving it to him? His execution?
22.The evergreen nature of Dickens’ story, the issues, audiences identifying with Oliver? Social concern?
