I Think I d Better Think It Out Again Ron Moody
A true work of art...splendid songs, astonishing performances...
"Oliver!" is a vast comeback over the marvelous Broadway stage version, opening up the scenes with the ability to expand the range of the material and still remain true-blue to the Dickens story. Brimming with unforgettable songs and dances (that choreography past Onna White is timeless), it is then well bandage--down to the smallest roles--and and so faithful to the spirit of Dickens' piece of work that you tin can no longer imagine that classic without the songs.
Fagin is played to perfection by Ron Moody. His "You Gotta Pick A Pocket Or Two" is just one of the highlights incorporating clever lyrics and great choreography. The boys who kidnap Oliver are a rowdy lot, looking every bit the ruffians they're supposed to be. The best of the lot is Jack Wild'due south Artful Dodger, leading the gang in "Consider Yourself".
But not all is light and cheery. The darker aspects of the story are sometimes a little too graphic for my gustatory modality, although all of the performances are extremely well played, including Oliver Reed as Neb Sykes. The scenes involving his demise are and then melodramatic they seem to belong to another motion picture.
Whatever the faults may be, including a rather extended running time, in that location is scarcely a tiresome moment. With songs similar "Who Volition Purchase?" and "Where Is Dear?" -- not to mention "Food, Glorious Food" -- you will notice yourself falling nether the spell of this peachy musical. Highly recommended and fully deserving of its Best Picture Oscar.
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I consider Oliver! the picture to be my mate.
Charles Dickens famous novel of an orphan boy, Oliver Twist, who escapes from his poor life to seek his fame and fortune in London, is adjusted as a glossy musical.
Who would accept idea that a story from the brilliant Dickens could be so sugariness and endearing? And so information technology be with Carol Reed'southward (Best Director Winner) unforgettable 1968 Best Pic Winner. Aye information technology's some fashion away from the essence of the source, those in need of that should be seeking out David Lean's fabulous 1948 version, but with an array of wonderful tunes and choreography, this Oliver is a care for for all the family. The cast are uniformly strong, notably Ron Moody (Fagin), Oliver Reed (who as Bill Sykes is probably playing himself!), Mark Lester (Oliver) and the fabled Jack Wild (The Artful Dodger). While Lionel Bart's songs are as timeless as they are engaging.
The 60s was a tough decade for cinematic musicals, with many of them turning out to be bloated exercises in tedium. But Oliver! is one of the shining lights in the genre, a true uplifter guaranteed to have the feet a tapping and the smile firmly implanted on ones face. And so if yous take however to see and exist charmed by it? Come on in, join our number and consider yourself one of u.s.. 8/x
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First in a long line
This pic introduced me to musicals at the age of 5 or 6, starting a trend which has lasted for over two decades since - it remains my favourite for a lot of reasons - the great treatment of Dickens' admittedly complicated book; memorable characters who do not sing, alongside those who practise (stellar performances from everyone); fun and frolics, and a few heartbreaking moments; and Lionel Bart's tremendous score. The 'Who Volition Buy' sequence is ane of the best e'er. I to watch and cherish and remember just how good musical films used to be.
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There'southward really nothing similar it.
Warning: Spoilers
This is a musical adaptation of Dicken'due south "Oliver Twist". For the most part, the original story has been maintained, though for the flow of the film sure subplots (such equally the summer he spent recuperating and the half-blood brother) are omitted. The biggest departure in the picture and the story is that by the end of the book, Fagin is hanged--an ending very unlike from this musical film.
This is a 1 of a kind musical--1 whose style and scope actually hasn't been matched before or since. Not only are the songs ofttimes quite singable and memorable, but the choreography of the film is a sight to behold. Whereas in most musicals a few people or perhaps even a pocket-sized grouping are choreographed dancing, here the numbers frequently run into the hundreds or perhaps more than. It's truly a sight to encounter and I was fortunate plenty to have seen it in the theater when it debuted and is one of my earliest childhood memories. Having just seen it again a few moments ago, I would have to say that the pic only got improve over fourth dimension. Great sets, wonderful acting and singing--this is a special treat that is hard non to love.
By the way, when I saw the moving picture again this night, I was surprised by just how high and feminine Mark Lester'due south singing was for the film. Well, according to IMDb, his singing was dubbed by a girl and this would definitely account for his voice.
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An Splendid Estimation of Dickens.
Warning: Spoilers
As a lifelong fan of Dickens, I have invariably been disappointed by adaptations of his novels.
Although his works presented an extremely authentic re-telling of man life at every level in Victorian Britain, throughout them all was a pervasive thread of sense of humor that could exist both playful or sarcastic as the narrative dictated. In a way, he was a literary caricaturist and cartoonist. He could be serious and hilarious in the same sentence. He pricked pride, lampooned airs, celebrated modesty, and empathised with loneliness and poverty. Information technology may exist a cliche, but he was a people's author.
And it is the comedy that is so often missing from his interpretations. At the fourth dimension of writing, Oliver Twist is being dramatised in series course on BBC tv. All of the misery and cruelty is their, but non of the humour, irony, and savage lampoonery. The issue is but a dark, dismal experience: the story penned by a announcer rather than a novelist. It'south non really Dickens at all.
'Oliver!', on the other hand, is much closer to the mark. The mockery of officialdom is perfectly interpreted, from the blustering beadle to the drunken magistrate. The archetype stand-off between the beadle and Mr Brownlow, in which the constabulary is described as 'a ass, a idiot' couldn't have been ameliorate done. Harry Secombe is an ideal choice.
But the blinding cruelty is also there, the draconian indifference of the land, the cold, hunger, poverty and loneliness are all presented simply as surely every bit The Principal would take wished.
So there is crime. Ron Moody is a treasure every bit the sleazy Jewish argue, whilst Oliver Reid has Bill Sykes to perfection.
Maybe not surprisingly, Lionel Bart - himself a Jew from London's e-end - takes a liberty with Fagin by re-interpreting him equally a much more than benign boyfriend than was Dicken's original. In the novel, he was utterly ruthless, sending some of his ain boys to the gallows in order to protect himself (though he was likewise caught and hanged). Whereas in the movie, he is presented every bit something of a wayward father-figure, a sort of charitable thief rather than a corrupter of children, the latter being a long-standing anti-semitic sentiment. Otherwise, very few liberties are taken with Dickens's original. All of the virtually memorable elements are included. Just enough menace and violence is retained to ensure narrative fidelity whilst at the same time assuasive for children' sensibilities. Nancy is all the same beaten to death, Bullseye narrowly escapes drowning, and Bill Sykes gets a faithfully graphic come-uppance.
Every vocal is excellent, though they do incline towards schmaltz. Marking Lester mimes his wonderfully. Both his and my favourite scene is the one in which the world comes alive to 'who will buy'. It's schmaltzy, but information technology's Dickens through and through.
I could go along. I could commend the wonderful set-pieces, the contrast of the rich and poor. There is height-quality interim from more than British regulars than you lot could shake a stick at.
I ought to requite it 10 points, simply I'm feeling more than similar Scrooge today. Soak it up with your Christmas dinner. No original has been improve realised.
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Pure flick magic!
Its strange that the film that won the best picture Oscar at the 1968 University Awards was a motion-picture show made in England, but if e'er a movie deserved that honor, I think it is Oliver. This picture show is a true classic that should be on every best picture listing and given a identify of award at The American Picture show Plant. Movie musicals died out a long time ago and it is a shame considering this is the best motion-picture show musical I take ever seen. Usually movie musicals are slipshod with some great numbers mixed in with some poor ones. Oliver does the incommunicable, because every number and every dance in this picture show hits the bullseye! From "Food Glorious Food" to "Consider Yourself" to "Who Will Buy This Wonderful Morning". Ron Moody, Shani Wallace (equally Nancy) and Mark Lester as Oliver all give outstanding performances. Marking Lester was at in one case the near famous child histrion in the entire world. He was the Ricky Schroder of his day or the MacAuley Culkin of his day (I'll bet he wishes he could have made the kind of money they did!). Mark Lester is now a doctor in England and I wrote him a couple eastward-mails and he talked near Oliver and what a fine experience information technology was making the flick. Shani Wallace was a fine English language actress who never got the credit she deserved. She was so good as the sweetness, loving Nancy who took a shine to little Oliver and gave her life saving him (her murder scene nevertheless makes me shiver, even Charles Dickens said that bothered him when he wrote it!). Doctor Lester wrote me that Shani Wallace was like a big sister to him and information technology shows on the screen. Ron Moody is delightfully hammy equally Fagin. He sort of reminds me of Charles Laughton the way he carries the role to its ludicrous extreme just you savor it forth with him. Charles Dickens was so good at portraying the poverty and horrible living conditions of his time and this film shows that especially in the workhouse. Children actually lived under those conditions and it is horrifying. The scene that got me is where they are existence served horrible gruel and are walking by the dining room where Mister Bumble and his henchmen are dining like kings! That actually fabricated me angry. Anyhow, Oliver is a wonderful motion-picture show that would stand to any film today and is a good viewing experience for the whole family. It will go out you with a happy heart and a lump in your pharynx and what more than could you ask for?
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First the novel, then the straight dramatic pic, then the musical - and the best motion picture "Oscar"
Alert: Spoilers
OLIVER TWIST was to take controversy as well as success post-obit it after Dickens published it in 1837. His picture of life in the urban ghettos was something shocking and new, and his making the central figures of the novel include criminals was another innovation.
One mean solar day he was walking in London and passed a young woman he had been friendly with. He said hi, but she was rather potent with him. He could non empathize this. A few days later they met once again, and he asked what he had done to upset her. "Well, if you must know, I did non similar your terminal novel.", she said. "Really, anybody else thinks highly of it." He was puzzled: "What'due south incorrect with it?" "Oh, Charles," she said, "I'm Jewish. How could you make up such a graphic symbol like Fagin?!" He had non expected this: "Well...yous know that trial last year of Ikey Solomon, the thief trainer. He'southward a model for Fagin and he was Jewish."
Dickens found that did not settle things. "Yes," she replied, "He got what he deserved. But Charles, they did not telephone call him "Solomon the Jew" like you call Fagin "the Jew"! Moreover, Solomon did non programme a murder. Fagin does." Dickens had to admit that he might take gotten carried away. He left thinking about what she said.
Oliver Twist was published in several editions. Dickens tried to improve on Fagin a flake. So he got an thought. He reworked the chapter called "Fagin's Final Night Alive", showing the fears in the human as he faced hanging. He also added some additional details.
He let his female person friend know about his resolve to alter Fagin. A mean solar day or so later he met her at a friend's house. She looked at him as though he was crazy. "Didn't you like the changes?", he asked. "Charles, what changes - he's yet a vile villain chosen "the Jew"!", she replied. "Yes, I did keep those in, but didn't yous meet how frightened he was in the death cell in prison house." The young woman had noticed this, but felt that he was so vile he deserved to be suffering such fears. "Ah...then I was correct about that...and did you run across the little details I added?", he asked. "What details?", she replied. "When you beginning see Fagin now he is cooking himself dinner...you read that?", Dickens looked at her expecting a sign of recognition. Instead the lady looked dislocated. "I read he was at the fireplace, but I must have skimmed the passage." Dickens smiled as though he was brilliant, "He is cooking a pork sausage for his dinner." "A what!"she exclaimed. "He'due south eating pork, my honey...come across - he's not a good Jew!" His friend looked at him, shook her head, and to his dismay left their friend'southward firm. She didn't speak to him for years.
Dickens never totally shook off his ain bigotries, but the state of affairs did lead to a partial endeavor at amends in his last completed novel. In OUR MUTUAL FRIEND (1865) he has a minor character, Mr. Riah, who is used past an unscrupulous landlord to collect high rents from poor tenants. The landlord figures that Mr. Riah will exist blamed because he is Jewish.
Only Mr. Riah is a good man. He is a very good man. He is a very, very, very, very skilful homo - and then good every bit to be unbelievable. If Fagin saw Mr. Riah in action he'd probably chase him away with a stick.
The anti-Semitic prototype of Fagin lingers to this twenty-four hours. Information technology is a measure of Dickens' genius as a writer that the novel overcomes information technology. However, in presenting the story on movie it still causes problems for screenplay writers and directors: how, after the Holocaust, can one practice a film treatment of a worthy novel without inflaming bigotry? David Lean showed how by having Alec Guiness appear in one or two scenes showing a man side and in against a mob at the end with true nobility. Sir Carol Reed, in his musical version of the novel did information technology amend however, due to a rewrite in the original musical's script.
OLIVER had been fabricated into a West End musical hit in the eye 1960s, and then taken to Broadway where it was again a striking. With a wonderful score past Lionel Bart, including "Nutrient Glorious Nutrient", "I Am Reviewing the Situation", "Consider Yourself", "Male child For Sale", "Who Will Buy", "Equally Long Equally He Needs Me", it deserved it'south success. Reed did well in his casting the roles, including his nephew Oliver Reed equally Sykes, Ron Moody as Fagin, Mark Lester as Oliver, Jack Wild every bit the Dodger, Shani Wallis every bit Nancy, and Harry Secombe as Mr. Bumble. There had been no large musical successes in Hollywood for a decade - the last musical to win the Best Picture Oscar had been GIGI in 1958. OLIVER won it in 1968.
And Fagin - how to handle the eternal problem of the caricature? Well in the musical Fagin is not captured, tried and executed for the murder that is committed. Later on all, even Lean showed Fagin tried to command his amalgamated in his actions. But hither Fagin realizes that he is getting too old to depend on this kind of chancy life. Although he loses his treasures (those stolen items he kept because he knew their value, and admired their beauty), he decides he tin reform. He is allowed to practice so, accompanied by his faithful acolyte, the Artful Dodger. I don't call back Dickens would have appreciated the modify (his female friend might take), but a modernistic audience certainly accepts information technology as plumbing fixtures.
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Broadway to Hollywood transition...SUCCESS!!!
Oliver! the musical is a favorite of mine. The music, the characters, the story. It all simply seems perfect. In this rendition of the timeless classic novel turned stage musical, manager Carol Reed brings the Broadway hit to life on the picture show screen.
The transition from musical to picture show musical is not an piece of cake i. You take to have the right voices, the correct set, the right script, and the right play. All signs point to yep for this play. It near appears that it was written for the screen!
Our story takes place in jolly former England where a boy named Oliver manages to work his way out of the orphanage. He winds his way through the state to London where he meets upwards with a group of juvenile delinquents, headed by Dodger, the smart talking, quick handed pick-pocket. The leader of this gang is named Fagin, an older beau who sells all the stolen goods.
Just all is not well in London boondocks when Bill Sykes played by Oliver Reed and his loving girlfriend Nancy get tangled up with Oliver, Fagin and his young troops, and the law. What ensues is a marvelous tale of love, affection, and great musical numbers.
Whether or not you similar musicals or not, i listen to these tunes and you will exist humming them all day long. Oliver! is a triumph on and off the phase and is a timeless work of art.
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This is proof that British picture studios of the 1960's could provide high quality productions
I was lucky to see "Oliver!" in 1968 on a big cinema screen in Boston when I was a immature teenager. Later, during the summertime of 1969, I was pleased to see this moving-picture show was all the same playing at a prominent movie house in Leicester Square, London, afterwards it had won the Academy Accolade for Best Picture of the previous year.
Thursday success of "Oliver!" on both the stage and screen reminded me that not all talent begins on Broadway and ends in Hollywood. This legendary story by Charles Dickens, which is function of the literary heritage of all English language-speaking people, was admirably brought to the London stage past Lionel Bart of Groovy United kingdom. His charming musical then became a hit in New York and throughout the earth. The film adaptation was made in England during the summer of 1967 and then released in 1968. The sets and musical numbers are mind extraordinary. The song "Who Will Buy?" required hundreds of actors and the British film director truly deserved his Oscar for putting information technology all together in a seamless style. Some Canadian and American talent is too role of this wonderful product, just generally it is a tribute to the fine craftsmanship of the British motion picture studios, such equally Shepperton. Good show! Other motion-picture show studios at Elstree, Boreham Forest, Bray, Denham, and Ealing have besides given the world many films to treasure over the years.
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Wonderful!
I took part in a fiddling mini production of this when I was a bout 8 at schoolhouse and my mum bought the video for me. I've loved it ever since!! When I was younger, information technology was the songs and spectacular dance sequences that I enjoyed merely since I've watched it when I got older, I appreciate more the fantastic acting and grapheme portrayal. Oliver Reed and Ron Moody were brilliant. I tin can't imagine anyone else playing Neb Sykes or Fagin. Shani Wallis' Nancy if the best character for me. She put upward with and so much for those boys, I call back she'south such a potent character and her terminal scene when... Well, you know... Always makes me cry! Best musical in my stance of all time. It's lasted all this time, it will live on for many more than years to come! 11/10!!
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Timeless Musical, that truly deserves to be upwards there with the musical greats!
Oliver! is a truly wonderful, timeless musical, that was office of my babyhood and one of my favourite musicals. When people speak of musicals, they refer to Wizard of Oz, Singin' In The Rain, Easter Parade, A Star Is Built-in, My Fair Lady, Sound of Music, Male monarch and I, Chitty Chitty Blindside Bang and Mary Poppins. Oliver! so deserves to exist up there with them equally a musical nifty, for that is exactly what information technology is. It has truly unforgettable songs by Lionel Bart, especially "Pick A Pocket", "As Long as he Needs Me" and "Oom Pah Pah". The choreography is just timeless, the sequence for "Consider Yourself" is one of the best scenes of the picture show, very energetic and wasn't overblown despite the danger of being that. The production looks lovely, wonderful costumes and sets, and the cinematography was excellent. And I mustn't forget the performances, absolutely infrequent! Ron Moody was magnificent as Fagin, oily yet somewhat lovable, and Jack Wild played Dodger with a real exuberance that was a real pleasance to see. Oliver Reed was suitably menacing every bit Nib Sikes, and Shani Wallis(a very underrated actress) was only delightful as Nancy. Harry Secombe is fine as Mr Bumble, not bad vocalization, well he was an opera singer, and then that explains it. Equally for Mark Lester, he was appealing, however Kathe Greene'southward singing vocalisation is my only complaint. It was lovely and tuneful, but sometimes for me information technology was too tranquility, I did have to strain my ear to hear her. No thing how much it deviates from the Dickens story(and I will say I am very fond of David Lean'south archetype Oliver Twist) or how long it is, it is a timeless unforgettable musical precious stone. 9/10 Bethany Cox
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My brief review of the film
sol- 19 February 2005
A high-spirited, lively version of the well-known story, the flick manages to fit in songs and dances without subtracting from the deeper issues in Dickens' novel. The times are depicted vividly well, with excellent sets and costumes, and the film works as both surface entertainment for the young generation, and equally a drama with deeper ideas behind it for the more adult viewer. As a musical, the story is not as potent as otherwise - if you compare it to David Lean'south version for instance - but yet the movie explains parts of the story ameliorate than Lean's version did. It is not a perfect movie as such, with some dances routines seeming pointless and a length that does get a tad annoying, only it is such a brilliant realisation of Dickens, and it is so well done, that it is difficult not to think highly of the film. Ron Moody especially is very good: perfect as Fagin in an Oscar nominated part.
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Brilliant musical – perhaps the last great entry from the "Aureate Era" of the genre.
Alarm: Spoilers
The keen cinematic musicals were made between 1950 and 1970. This twenty year spell can exist rightly labelled the "Golden Era" of the genre. There were musicals prior to that, and there take been musicals since… but the true classics seem invariably to have been made during that period. Singin' In The Rain, An American In Paris, The Ring Carriage, Seven Brides For Seven Brothers, Oklahoma, South Pacific, The King And I, and many more, stand tall as much cherished products of the age. Perhaps the terminal great musical of the "Golden Era" is Carol Reed'due south 1968 "Oliver". Freely adapted from Dickens' novel, this vibrant musical is a picture version of a successful stage product. It is a magnificent movie, winner of six Oscars, including the Best Picture laurels.
Orphan Oliver Twist (Mark Lester) lives a miserable existence in a workhouse, his mother having died moments after giving birth to him. Following an incident i repast-time, he is booted out of the workhouse and ends up employed at a funeral parlour. Merely Oliver doesn't settle specially well into his new task, and escapes after a few troubled days. He makes the long journey to London where he hopes to seek his fortune. Oliver is taken under the wing of a kid pickpocket called the Artful Dodger (Jack Wild) who in turn works for Fagin (Ron Moody), an elderly cheat in charge of a gang of child-thieves. Despite the unlawful nature of the chore, Oliver finds good friends among his new "family". He also makes the acquaintance of Nancy (Shani Wallis), girlfriend of the cruellest and most feared thief of them all, the menacing Pecker Sikes (Oliver Reed). After many adventures, Oliver discovers his true ancestry and finds that he is actually from a rich and well-to-do background. Only his chances of existence reunited with his real family are jeopardised when Bill Sikes forcibly exploits Oliver, making him an accomplice in some particularly risky and aggressive robberies.
"Oliver" is a brilliantly assembled film, consistently pleasing to the center and excellently acted by its talented cast. Moody recreates his stage function with considerable verve, stealing the pic from the youngsters with his energetic performance as Fagin. Lester and Wild do well too as the young pickpockets, while Wallis enthusiastically fleshes out the Nancy function and Reed generates 18-carat despicableness equally Sikes. The musical numbers are staged with incredible precision and sense of spectacle – Onna White's Oscar-winning choreography helps make the song-and-trip the light fantastic toe set pieces and then memorable, but the lively performers and the skillful management of Carol Reed besides play their office. The unforgettable tunes include "Food Glorious Food", "Consider Yourself", "You've Got To Pick A Pocket Or Two", "I'd Do Anything" and "Oom-Pah-Pah" – all immensely tricky songs, conveyed via very well put together sequences. The film is a thoroughly entertaining feel and never actually loses momentum over its entire 153 infinitesimal elapsing. Sit back and savour!
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Can I take more, sir?
I love this movie. Love it beloved information technology honey it.
But I know that non everyone loves musicals. So: if you find the musical genre contrived or unnatural or kitschy, if it's just not your thing, then don't bother with this movie considering it is unabashedly and outstandingly a MUSICAL.
The songs: "Nutrient, Glorious Food," "Consider Yourself," "Yous've Got to Pick a Pocket or Two," simply for starters. These are wonderfully singable, indelibly memorable, and they move the plot and action forth the style musical numbers in a flick should. This is a lost fine art now, I'm convinced, although perhaps with the Idiot box series "Glee!" now riding a wave of popularity, there will be some talented musicians and lyricists who will revive this fine art-form. Anyhow, suffice information technology to say: "Oliver!" is the musical at its best.
The actors: Oh my lord. Here we have Ron Moody in the office of Fagin, and he is Indelible. He doesn't just human action the function, he doesn't just sing it and dance it, he slips into the grapheme's skin and he IS Fagin, in a style that makes information technology impossible to imagine anyone else in this part.
Jack Wild as the Artful Dodger. He's but superb, audacious and sassy and swaggering, and yous can't help only like him even as you see him cheerfully taking up a life of criminal offense. He makes us take the character as someone basically good-hearted who is merely adapting to the life he has to alive. Matter-of-factly and without malice, and leaping to take hold of joy when the opportunity presents itself.
Shani Wallis as Nancy: tender and tough, tough and tender, she has the virtues of loyalty and honesty even as those values become hindrances to survival. She is who she is and she doesn't apologize for it, she'due south key to saving immature Oliver.
Oliver Reed as Bill Sikes. I love Oliver Reed, always have, and he dominates every scene he has in this movie. You look at him and you see what the Artful Dodger would plow into if he had malice in his soul. Sikes is dangerous; he has no lawmaking but survival for himself, and he'll throw anyone else to the wolves without pausing to remember about it if information technology serves him to do so. Oliver Reed really makes the movie work, because he brings 18-carat menance and sexuality to his office, which serves as a counterpoint for the sweetness of the musical equally a whole.
And finally, Marker Lester. He is beyond winsome as the title character, a completely believable innocent who is without guile and imbued with a natural sense of goodness. I just beloved looking at Mark Lester, he's such a cute and dreamy-looking child.
This movie is about equally good equally a musical gets: information technology's visually stunning, in the sets and the cinematography and the costumes, and in the staging of the musical numbers. The characters are wonderful, they're classics. The plot is pared down to the nuts and conveys the material as Dickens wrote it without being slavish or getting bogged downwardly in detail.
When I saw this movie for the first fourth dimension, I laughed and I cried and I saturday at the edge of my seat, and when information technology was over I wanted more. Since the first time I saw information technology, I've seen it more than than a dozen times more, and it's a picture I tin can lookout man once again and again and again.
As a musical, it'due south tops. Only non everyone likes musicals. Maybe because not every musical is as good as "Oliver!" on every level.
Perchance, only possibly, we'll come across a renaissance of the genre soon, and more people who "don't like musicals" because they've only seen bad ones will empathize that when a musical is good, it'due south actually, really good.
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A truly wonderful musical for the whole family unit.
"Oliver!" brings to the screen a worthy adaption of Lionel Bart's Broadway musical of the sixties. The combination of a superb cast, wonderful music and scenic choreography hateful that the film loses zippo in its translation from the stage. To this day information technology remains one of the stand-out musical adaptions in a dwindling field.
Although the conservative Dickens fanatics may pollex their noses at various liberties taken on the original plot of "Oliver Twist", they should observe that "Oliver!" has recreated well-nigh of the spirit intended past Dickens. While primarily a musical one-act, "Oliver!" certainly has a dark undercurrent, cheers to the skillful direction of Carol Reed and the sinister acting of Oliver Reed (playing Bill Sikes). Dickens was essentially a talented satirist, who constructed his characters to convey a moralistic view on Victorian society. "Oliver!" conveys much of the sadness and desperation of the original novel.
For anyone not acquainted with the famous storyline, the moving-picture show treats of a young orphan, Oliver Twist, and follows his journey from a paupers' workhouse to the crude-and-tumble city life of London. He is spotted and introduced into a gang of thieves, led by the crafty and cunning Fagin. What follows for Oliver is an introduction to the art of picking pockets; the methods of justice dispened by Mr Fang the magistrate; the cruelty of Bill Sikes the notorious thief, and the compassion of Nancy, Pecker's mate; the kindness of Mr and Mrs Brownlow. Such an adventure for such a small boy!
It is hard to pinpoint the exact reason why this Oscar-winning film is such a success. On one hand there is the incredible performances of a gifted bandage - Ron Moody beingness nominated for an Academy Honour for his portrayal of Fagin, and young Jack Wild'southward mature performance as the Artful Dodger. Mark Lester plays Oliver, and depicts all the elements of innocence and vulnerability as could exist imagined in the young male child. Harry Secombe backs upward the cast every bit the beadle, Mr Bumble.
Perhaps the best aspect of the film though is the music itself. Lionel Bart has done a masterful job in writing the original score, and you lot may expect to notice yourself singing the songs for weeks later watching "Oliver!". Here are the evergreens, "Reviewing the Situation", "You lot've Got to Option a Pocket Or Two", "Who Will Buy", and the beautiful and touching "Where is Love?". The list of classic tunes goes on and on, and if zero else, young people today should spotter the motion-picture show purely for its educational value - to exist introduced to the sweet music of yesteryear, and to see that a film's qualities extend beyond the realms of special effects.
"Oliver!" volition rightfully go down as a classic film of its time, and with any luck volition keep its identify equally a family favourite, for years to come. Its warmth and familiar music make it a must-see.
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Great picture.
Yes, as unbelievable every bit information technology may be, in 1968 a musical won the Academy Laurels for best picture - and it was the third musical to win that award in a five-year menstruum, the showtime existence My Fair Lady in 1964 and and so The Sound of Music in 1965. The difference between My Fair Lady, The Audio of Music and Oliver! yet is that Oliver! is immeasurably better! No comparison. The beginning ii movies are insipid wet noodles compared to the remarkably robust Oliver!. The acting is great; the songs are great; the story is smashing and the dancing is great. This flick is dynamic, topical, relevant to the man experience and unlike the overblown Gangs of New York, Oliver! offers a portrayal of poverty in 19th century London, England that evokes sympathy without existence condescending. Oliver Reed was a groovy actor and he proves it in Oliver! The other actors and actresses, especially Ron Moody and Shani Wallis, are equally wonderful and offer powerful portrayals of characters who evoke sympathy and warmth without being caricatures.
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Tin a fellow be a villain all his life?
¨I'm reviewing the state of affairs. Can a swain exist a villain all his life? ¨
¨Oliver! ¨ is my favorite Musical of all time, but information technology could very well exist called ¨Fagin! ¨ because Ron Moody'south performance every bit Fagin is truly the highlight of the moving picture. He shines in every scene he's in and his musical pieces ¨You've Got to Option a Pocket or Two¨ and ¨Reviewing the Situation¨ are the all-time ones in the movie. Even Oliver's buddy, the Artful Dodger played by Jack Wild, steals each scene he shares with Marker Lester, who plays the main character Oliver. The moving-picture show which is based on Lionel Bart's musical adaptation of Charles Dickens's novel, Oliver Twist, had been produced for the stage in London before they decided to turn it into a film. The screenplay adaptation for the movie was written by Vernon Harris. The characters are just as I would accept imagined them from reading Dickens's novel and I don't have a trouble with Fagin and The Aesthetic Dodger stealing the show from the protagonist because that is what happens nigh of the time with Dickens'south main characters in his novels. He is and so good at creating remarkable characters and I call up these two were the nigh memorable in the novel equally well. Oliver Twist serves more than as a symbol of innocence and purity amid an evil world that has turned its back on him, and his goodness proves to be incorruptible even among these villains he lives with. I am a huge fan of Charles Dickens and I really believe this moving picture lived upwardly to it although it was very loosely based on the novel considering y'all just can't fit everything into the movie and some of the characters had to be left out (Monks, Mrs. Maylie, Henry and Rose for example), or they didn't accept much screen time as is the case with Mr. Bumble.
The movie begins in a workhouse several miles from London where several immature orphans are forced to work and live under harsh conditions. Ane of the orphans, Oliver Twist (Mark Lester) is chosen by the rest of the kids to inquire for more nutrient because it is hardly plenty. Oliver is a shy practiced looking kid, just when he asks Mr. Bumble (Harry Secombe) for more nutrient he is instantly put in subject field for misconduct. He decides to sell the boy because he has get an inconvenience. Oliver eventually escapes and is able to arrive at London where he meets another young boy about his age who introduces himself as The Artful Dodger (Jack Wild). The Dodger offers Oliver a place to sleep and introduces him to Fagin (Ron Moody) and the rest of the boys. Fagin happens to be a thief who trains the children how to pick a pocket and steal valuable goods like wallets and handkerchiefs from distracted men in the streets. Oliver is innocent and doesn't actually empathize what is going on until the day he goes on his very beginning mission with the Dodger and he is mistakenly accused of stealing a man's wallet. Oliver is finally alleged innocent later an eyewitness claims it was some other boy who was trying to steal the wallet and Mr. Brownlow (Joseph O'Conner) apologizes to him and adopts him at his habitation. In the concurrently Fagin is worried the male child will give upward his hideout forth with his partner in criminal offence, Bill Sikes (Oliver Reed). Pecker forces his girlfriend Nancy (Shani Wallis) to kidnap Oliver and bring him back and the plot develops from that betoken on.
Oliver! won six Oscars in 1968, including best motion-picture show, and was the terminal musical to win an Oscar until Chicago won information technology in 2005. Carol Reed likewise won for best direction and he really raised the bar for musicals ever since. It was probably the last of the dandy musicals. Maybe the hardest graphic symbol to portray in this film from the novel was Nancy because she is torn betwixt her beloved for Bill and doing the correct thing for Oliver. Shani Wallis does a good chore of portraying this inner struggle which somewhen leads her to her fate. Oliver Reed had to portray the darkest and well-nigh evil graphic symbol of the novel, Bill Sikes, and he does a good chore as well. Some of the other musical numbers I enjoyed were ¨Who Will Buy? ¨ and ¨Oom-Pah-Pah.¨ The art directions and scenery were also really well done for the time menstruum. I don't know if I would of enjoyed the pic equally much as I did if it weren't for Moody'due south operation. He was peachy and I think he should have won the Oscar for Best Secondary Actor. Robin Williams'due south functioning in August Rush was probably influenced by Moody's character in this motion-picture show. He was just a pleasure to watch on screen and is the main reason why I like this Musical and so much. I am not a big fan of musicals, but this is definitely my favorite one and I recommend information technology.
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You couldn't make a better film version of this....
Warning: Spoilers
O.1000., you could make it darker. You could "Sweeney Todd" it up and accept Bill Sikes be exactly like that throat slicer who had the victims then turned into meat pies. Merely what they did with the film version of the 1960 London musical (brought to Broadway in 1963) is keep it faithful to that source, if not the original Charles Dickens novel with all the controversy of so-called anti-Semitism.
Sweet fiddling orphan Oliver (Mark Lester) wins the dare to ask for "more!" and when he does, he is throunced, bounced, and sold to a flustered undertaker named Sowerberry. Too sauced to save his purchase, Sowerberry sleeps it off in a coffin while Oliver beats upward the older assistant Noah. Oliver escapes to London, meets up with the Aesthetic Dodger (Jack Wild), and is presently off to see the Wizard of Pickpocketing, the hawk-nosed Fagin (Ron Moody), a lovable sometime codger of thievery with a few tricks up his sleeve. Fagin's co-horts, Bill and Nancy Sikes (Oliver Reed and Shani Wallis) both have different ideas of what to do with Oliver, but offset they must become him back from the rich man who saved Oliver from being defendant of picking his pocket.
Musically, this is exciting, from the pleading "Food, Glorious, Food!" to the touching "Where is Love?" in the beginning, exploding into big urban center joy in the London-set "Consider Yourself", and and then music hall glory with Wallis'southward loving Nancy singing such showstoppers every bit "It'due south a Fine Life!" and "Oom-Pah-Pah!".
Title graphic symbol Oliver is visually perfectly bandage with the diminutive Marker Lester who has the right innocence for him with a touch of toughness when he needs to bring that out. Lester, seemingly dubbed with a high-pitched singing voice, does what he can to make the character non pitiable, merely oh, that singing voice. Harry Secombe is an unforgettable Mr. Bumble, Moody a joy equally that rascal Fagin who teaches his boys "You've Got to Option a Pocket or Two!". Wild and Wallis shine with "I'd Do Annihilation", and the ensemble of "Who Will Purchase?" is a huge production number that keeps the joy coming.
All in all, in that location is nothing to complain most in this product, the right songs cutting from the original and even the smallest parts perfectly bandage with perfect visuals from the book. In one case you see this (again and again) y'all will as well come across the similarities to some other big stage musical, the Manhattan set "Annie", which likewise deals with an orphan trying to find her legacy and dealing with crooks in the meantime. Both shows have dogs, merely Bill Sikes' pooch in "Oliver!" is a lot more than nefarious looking than Sandy from "Annie".
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Magnificent! Charles Dickens would be proud
Warning: Spoilers
British picture show studios take not been known for turning out large numbers of beginning-rate musicals. Merely "Oliver" is a HUGE exception.
The 1968 version of Charles Dickens' "Oliver Twist," based generally although non slavishly on his original story, absolutely sparkles with slap-up music, very fine acting, and some lessons about life, and people, that many of us may not notice the first or second fourth dimension we encounter the movie. Which is a proficient reason to watch it several times -- as I have, over the years.
Oliver Twist is a little boy in a British orphanage, where the unfortunate youths are forced to perform hard manual labor all 24-hour interval, and are fed almost solely on sparse gruel by the miserly managers of the place. Emboldened by his mates to tell the caput whip-cracker, "Please, sir, I want some more!", poor Oliver is expelled from the orphanage and sold ("Payment upon liking," says his new "owner," a skinflint undertaker) as a virtual slave.
Events enable Oliver to escape the undertaker's cellar, where he has been cast downwards for "misbehavior," and he winds up in London, where a vagrant male child about his age, The Artful Dodger, introduces him to the "orphanage," and then to speak, run by a criminal named Fagin, who teaches "his" boys to pickpocket, and fences goods stolen by a burglar named Bill Sikes.
Information technology is worth noting that, while Fagin exercises strict control over the young boys living with him, he appears to feed them amend, and to treat them with more than respect, than the establishment orphanage bosses.
Oscar becomes the favorite boy of Sikes' beautiful live-in girlfriend, Nancy, and that eventually leads him into problem. Sikes' first appearance in the film comes at a crowded pub, late at night, later he has pulled a very profitable break-in. Preceded past his large, ominous-looking shadow equally he walks in, he is a alpine, unsmiling thug -- someone who "you wouldn't desire to mess with," as nosotros would say in the U. South.
Sikes is skillful at bullying and intimidating elderly men (Fagin), women (Nancy) and boys (Fagin's wards at his evil orphanage). Only in the disturbing climactic scene, equally he attempts to escape the London bobbies and outraged citizens afterwards killing Nancy, while holding Oliver as hostage, a policeman's gun proves to him that all bullies and thugs, eventually come to a bad finish.
The music, and the dancing, in "Oliver," are absolutely superb. Ane extended music and dancing scene, which takes identify in a circular plaza in an upper-grade neighborhood, was and so adept that it caused me goosebumps.
Ron Moody every bit Fagin; Shani Wallis, equally Nancy; Oliver Reed, equally Bill Sikes; Mark Lester, every bit Oliver; and Jack Wild as The Artful Dodger, play their parts to absolute perfection. This film won 5 Academy Awards, and in my opinion, should have received more. If you're a Dickens fan, and you want to run into a actually great musical with a different accent than the usual Hollywood kind, become see "Oliver."
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The attraction of the Artful Dodger
He's an older, large brother blazon and takes Oliver under his wing in a quid pro quo fencing hiercharchy. This street smart musical is uniquie in style and scope. Jack Wild and Mark Lester were nicely cast alongside the indelible Ron Moody, revamping his stage office. His conflict is ours and withal he is playful, protective and leader of xx young pick pockets. The songs are quite singable and memorable and the choreography is a sight to behold, where the numbers often come across the hundreds and the character integration is wonderful. It's truly a sight to come across and I was fortunate enough to take seen it in the theater when information technology debuted and having seen it again and once again on DVD. I would take to say that the film only got better over time. Great sets, wonderful acting, overlapping choreography, this is a special care for that is engaging and hard not to love. This inspired my love of music some 41 years ago! Who will purchase? OK, OK....I will!
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Oliver! Oh Oliver! How Good You Are! ****
Sir Carol Reed, known primarily for directing British dramas of the 1940s and 1950s, hitting the jackpot in this Oscar-winning 1968 musical based on "Oliver Twist," past Charles Dickens.
A poor boy begs for food at an orphanage. Escaping, he falls in with a band of thieves, led by an adept Ron Moody, who conveys his part equally Fagin, so beautifully. He meets the Artful Dodger, skillfully played by Jack Wild.
There is also Beak Sykes, the real vicious leader of the gang and his girlfriend, an impressive Shani Wallis. When Wallis belts out As Long As He Needs Me, you lot know she means it all the style. Defying Sykes costs her her life, but her sacrifice saves young Oliver.
Oliver is actually from a wealthy family unit. Abandoned by his mother out of shame, he will eventually find his way back to his home but not before much difficult maneuvering.
The singing and dancing are delightful. Renditions of Consider Yourself Function of the Family are memorable.
Just consider Oliver! a wonderful film.
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musical,yes,great film yes,,what more than is there
i'm really getting old,,am in the midst of watching this 40 twelvemonth old flick,and wonder what my grandchildren will be watching 40 years from at present,,its an old saying,,but they don't brand em like that anymore..it's not simply the story,its the music,the acting both by young and erstwhile..the cast ,it would seem,were born to play their roles,,young oliver,,old Fagin..too many to mention them all,the role played by the estimate oliver stands before,i've seen in other roles over the years..the artful dodger,,Ron moody as Fagin,,Mr and Mrs bumble,,the movie not merely won 5 Oscars,,only took a few gold globe awards too..if you lot make up one's mind to see this moving-picture show..exercise yourself a favor,,have a few if not all the children,to encounter this masterpiece
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Oliver! Oliver! Amazing!
"Oliver! Oliver! Never earlier has a boy wanted more"... exactly correct, i was entertained throughout this classic Oliver Twist tale I thought this was the most authentic the story has ever been, nothing beats a skillful old classic! The reason I enjoyed this then much is that back in these days in that location wasn't alot of tech and then its focused purely on voice and story which I discover remarkable.
The songs are very catchy every bit they should be, simply the way the songs work with the story is what makes this the all-time musical always. I really enjoyed the bandage of this just in particular ane that stood out to me was Bill Sykes (Oliver Reed) I thought he did a fabulous chore staying in consummate character, he fitted the part so smoothly its like he was built-in to play it.
Perfect adaption of a beautiful play/musical, I enjoyed studying this in school back in 2012, I didnt play a massive office in the play we did but I did bask existence a part of such a gorgeous story!
Highly recommend this, dont let the year fool you, classics are where the story is at! You won't be disappointed!
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The All-time musical ever!
Unable to give an unbiased view as I call up this is one of the Greatest films e'er made! Every single aspect of the motion-picture show is perfect, from the sets and costumes to the choreography and music! Every label is spot on. Ron Moody IS Fagin merely as Jack Wilde makes an ideal Artful Dodger and seriously is information technology possible to imagine a more darker, more than brooding more than downwards-right nasty evil Pecker Sykes than Oliver Reed? Marking Lester is a wonderfully sweetly naive & innocent lead character (OK so he doesn't sing any of the songs!) Shani Wallis is bully as Nancy. To this wonderful bandage of leads add some fantastic performances by the likes of Harry Secombe, Peggy Mountain, Leonard Rossiter, Hylda Baker, Kenneth Cranham and I loved Hugh Griffith'southward cameo as the Magistrate! Lionel Bart'southward masterpiece score hits every right annotation! Every song is memorable, from the big production numbers to the heartfelt ballads. Hard to pick a favourite but I dear "Consider Yourself". At no point does the 2 hours 30 minutes lag or become boring. If you have seen the film I hope you concord with me (even partially) if you have NOT seen the film I thoroughly recommend it, sit down with the whole family and let yourself to exist entertained from commencement to finish. I saw the motion picture in 1968 when it was showtime released, I purchased the VHS tape equally before long as it became bachelor (and wore several of them out!) and now have the DVD. I accept lost count of the times I have watched the movie but genuinely it must be into the dozens! ALL my kids dearest the movie. and regularly watch information technology too. Oliver! is the MVP of musicals, a rollicking chance through early 19th century London. Forget the real world and the stresses and strife, put your feet up and lose yourself in 150 minutes of pure escapism!
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Delightful!
The Dickens novel becomes an Oscar-winning musical. The 1960s was the decade of big musicals, many of them bloated and irksome. This one is surprisingly enjoyable, thanks to wonderful songs and dances, causing the two and one-half hours to fly by. Moody has the role of his career as the leader of a gang of pickpockets, and he is terrific. Reed makes a dastardly villain. With her boundless energy and contagious enthusiasm, Wallis is a delight every bit Reed's girlfriend; sadly, her movie career went nowhere. Lester and Wild are fine as the young pickpockets. This is Ballad Reed's only musical, merely he pushes all the right buttons. Musical highlights include "Would You Buy?" and "Oom-Pah-Pah."
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