I think my appreciation for OLIVER TWIST as a story by Dickens was dulled a little bit by the lame musical version, made into an Oscar-winning film in 1968 by Sir Carol Reed. It's the version by another knighted filmmaker – Sir David Lean – from 1948 that made me respect it again and I have to once again thank Reel 13 for bringing it to us this past October.
Lean uses a very similar approach to Dickens that he used in GREAT EXPECTATIONS two years prior. Same Gothic-style production design, luscious high contrast cinematography and a brisk, efficient pace. He even brings back many of the same actors as if he had a Dickens repertory troupe of some kind. Perhaps his wisest decision was increasing the screen time for Alec Guinness, who played a minor supporting role in EXPECTATIONS, but here gets to chew scenery as Fagin. Sir Alec, as you might expect, does not disappoint. He disappears into the character behind a wig, a sneer and a great deal of make-up. The character is fascinating to begin with, but Guinness adds layer upon layer to help create a three-dimensional portrait of greed with an ounce or two of compassion. Modern audiences might be offended by the gigantic prosthetic hooknose (to suggest his Jewish heritage) he dons, but these were less sensitive times. Similar devices were frequently used at the Old Vic and such for "The Merchant of Venice", et al, so no harm was meant.
I would still argue that GREAT EXPECTATIONS (aired on Reel 13 in April) is a slightly better film than OLIVER TWIST, but I think the primary reason for that is that EXPECTATIONS is just a stronger story than TWIST. In terms of filmic interpretation, Lean does a masterful job in both instances, on his way to becoming one of the finest filmmakers we've ever known.
(For more on this or any other Reel 13 film, check out their website at www.reel13.org)