Oliver!: From Stage to Screen

Ron Moody .... Fagin
Shani Wallis .... Nancy
Oliver Reed .... Bill Sikes
Harry Secombe .... Mr. Bumble
Mark Lester .... Oliver Twist
Jack Wild .... The Artful Dodger
Hugh Griffith .... The Magistrate
Joseph O'Conor .... Mr. Brownlow
Peggy Mount .... Mrs. Bumble

Leonard Rossiter .... Mr. Sowerberry
Hylda Baker .... Mrs. Sowerberry
Kenneth Cranham .... Noah Claypole
Megs Jenkins .... Mrs. Bedwin
Sheila White .... Bet
Wensley Pithey .... Dr. Grimwig
James Hayter .... Mr. Jessop
Elizabeth Knight .... Charlotte
Fred Emney .... Workhouse Chairman
Edwin Finn .... Workhouse Pauper
Roy Evans .... Workhouse Pauper
Norman Mitchell .... Arresting Policeman
Robert Bartlett .... Fagin's Boy
Graham Buttrose .... Fagin's Boy
Jeff Chandler .... Fagin's Boy
Kirk Clugeston .... Fagin's Boy
Dempsey Cook .... Fagin's Boy
Chris Duff .... Fagin's Boy
Nigel Grice .... Fagin's Boy
Ronnie Johnson .... Fagin's Boy
Nigel Kingsley .... Fagin's Boy
Robert Langley .... Fagin's Boy
Brian Lloyd .... Fagin's Boy
Peter Locke .... Fagin's Boy
Clive Moss .... Fagin's Boy
Ian Ramsey .... Fagin's Boy
Peter Renn .... Fagin's Boy
Billy Smith .... Fagin's Boy
Kim Smith .... Fagin's Boy
Freddie Stead .... Fagin's Boy
Raymond Ward .... Fagin's Boy
John Watters .... Fagin's Boy

Directed by
Carol Reed

Writing credits
Charles Dickens (novel Oliver Twist)
Lionel Bart (book)
Vernon Harris

Produced by
Donald Albery
John Woolf

Original music by
Lionel Bart
Johnny Green

Cinematography by
Oswald Morris

Film Editing by
Ralph Kemplen

Casting
Jenia Reissar

Production Design by
John Box

Art Direction
Terence Marsh

Costume Design by
Phyllis Dalton

George Frost .... makeup supervisor
Bobbie Smith .... key hair stylist
Denis Johnson Jr. .... unit production manager
Denis Johnson .... production supervisor
Colin M. Brewer .... assistant director
Ray Corbett .... assistant director: second unit
Buster Ambler .... sound recordist
John Cox .... sound supervisor
Jim Groom .... sound editor
Bob Jones .... sound recordist
Allan Bryce .... special effects
Graham Barkley .... title backgrounds designer
George Baron .... assistant choreographer
Lionel Bart .... lyricist
Dusty Buck .... music co-ordinator
Robert Cartwright .... assistant art director
Freddie Cooper .... camera operator
Pamela Davies .... continuity
Vernon Dixon .... set dresser
Peter Dukelow .... construction manager
Marcel Durham .... assistant film editor
Percy Godbold .... production buyer
Johnny Green .... conductor
Robert Hathaway .... associate music editor
Ray Holder .... choreographic music layouts
Ken Muggleston .... set dresser
Larry Oaks .... assistant choreographer
Loretta Ordewer .... production secretary
Tom Panko .... associate choreographer
Eric Rogers .... additional orchestrator
Ken Runyon .... music editor
Roy Walker .... assistant art director
Brian West .... photographer: second unit
Onna White .... musical sequences stager choreographer
John Wilson-Apperson .... wardrobe supervisor

There was a time when an Overture, Entr'acte and Exit Music where a part of the movie going experience as it is in the musical theatre. Now, these elements have been restored to the more elaborate package releases of films. I think these musical elements disappeared from films because moviegoers didn't know what to do during them. The lights were up in the theatre. There might not have been anything on the screen. Audiences would talk through it or sit uncomfortably waiting for the visual medium to take over. Of course, there were some of us who love the concept and would love to see it re-emerge. It can serve to make a film an event. But I digress...

The workhouse boys, dressed in torn rags enter the 'dining area' like drones singing this attention grabbing number. Wonderfully staged, the number serves to establish the conditions of the workhouse, but also to introduce Mr. Bumble, the aristocracy and our hero, Oliver Twist. The brilliant scenic design adds no color to this claustrophobic world where even the dirty windows only allow the suggestion of light to enter.

"Every Day We Say a Prayer,
Will They Change the Bill of Fare,
Still We Get the Same Old Gruel."

Just think, if the drawing of straws had a different result, this films main character might have been Ernest or Rex. But, as fate would have it Oliver Twist pulls the long straw and so is chosen to ask Mr. Bumble for a second helping of gruel. 'Dickensian' Authority is well preserved in the characterization of Mr. Bumble. Here, this mound of intimidation explodes at Oliver's request for "More".

"There's a long thin, winding stairway without any banister,
Which we'll throw him down and feed him on cockroaches served in a canister."

This simple dirge is so hauntingly beautiful that I've watched it repeatedly. The music, when combined with the stark snow covered surroundings and the voice of Mr. Bumble all add up to a beautiful song that ironically is the selling pitch for a small boy.

One Boy, Boy for Sale
Come Take a Peek,
Have You Ever Seen as Nice
A Boy For Sale.

Oliver, in trouble for beating up someone a foot and a half taller than he, sings this song of love unborn. Although beautiful, I find the song a bit unsettled. Firstly, some of the lyric seem to suggest that he is yearning for female companionship. That is certainly understandable but we are talking about a nine-year old here.

Where is She
Who I close my eyes to see,
Will I ever Know
the Sweet Hello,
That's Meant for Only Me.

I find it hard to believe that a nine year old yearns for "The Sweet Hello That's Meant for Only Me."

Secondly, Mark Lester's voice. Every note from his mouth is firmly and confidently performed in his head voice. This makes for a beautiful sound but a flat expression of thought. Still, he certainly embodies the look and spirit of Dickens' hero.

Oliver has met up with small time-big time hood, Jack Dawkins, more commonly known by the moniker "The Artful Dodger". Oliver is entranced by the charismatic Dodger, so much so that he is unaware of the possibility that he would be swindled by him. This popular song serves to introduce Dodger as well as the City of London where Oliver will set up camp. Of considerable note is the great performance by Jack Wild in the top-hatted role of Dodger.

Consider Yourself at Home
Consider Yourself one of the family
We've Taken to You so Strong
It's Clear... We're... Going to Get Along.

Listen up, my Dears, Dodger has introduced Oliver to Fagin as someone willing to take in boarders. Fagin acts as surrogate father to a small band of pick-pockets and thieves. Here, he playfully sings to Oliver the greatest albeit self-serving advice he has to offer. Moody in the role of Fagin is Musical theatre at its greatest. His characterization is extremely honest and this number is no exception.

Why Should We Break our Backs
Stupidly Paying Tax
Better Get Some Untaxed Income
Better Pick a Pocket or Two

Here we meet lovely Nancy, a girlfriend of Bill Sykes in what seems to be a display of what is now called Co-Dependency. You see, Bill is an evil man and a thief. When he arrives at the surprisingly seedy bar where Nancy is waiting (or working?), he barely acknowledges her even while sharing his meal with an even seedier looking dog named "Bulls eye", but she smiles and sings this song. Then as the song ends and we see Bill having left with barely a nod to her, we now see pain.

But For Me...
Happy Home,
Happy Husband,
Happy Wife
Though it Sometimes Catches Me
For the Likes as Such as Me
Mine's a Fine, Fine Life

But then, in a subtle display of ironic optimism we see Nancy catch up and walk side-by-side with Bill. After a time, Bill turns and calls to "Bulls eye", the first words he has spoken in the film. As the dog catches up the doomed 'family' walks off into the night.

Nancy arrives to pick up Bill's payment from Fagin and is courted by The Artful Dodger. He offers to take her on a ride in his carriage, being 'quality' people. Many of the boys team up to create the carriage and the 'illusion' of Nancy and Dodger driving around the small attic space is very satisfying. Oliver takes on a verse in his quiet, breathy vocals, a once common vocal sound for young British boys that is wisely avoided in today's theatrical productions. Finally, Fagin twists the song to be self-serving and joins in with dance more energetic and child-like than the boys. What seems a fun, distracting song offers some interesting observations. Maybe Nancy would be better served to be in love with a young boy like Dodger as opposed to Bill Sykes.

I'd do anything
for you dear anything
for you mean everything to me

Fagin sends the boys off on the days errands with this word of advice, Be Back Soon. Ron Moody displays such energetic movement in his tired, frail looking body that he is a perfect 'Pied Piper" to the boys in their group movements. This is the last song in the act.

Fare thee well but be back soon
Who Can Tell Where Danger's Lurking?
Do Not Forget This Tune,
Be Back Soon

Oliver awakens in a white, tidy room with the sun shining brightly inside. He approaches the window to hear the early morning vendors selling their wares. His smile to this new colorful world, so sharply contrasted with the dark and ugly world of Act One, is absolutely priceless. What follows is a huge dance number filled with characters exuding personality and charm. Of course, I would have liked to see Oliver look up to the sky at least once, especially when he sings

Such a Sky You Never Did See.

Another distraction for me involves the boy and girl schoolchildren. After they dance together, some of the boys playfully push the girls into a fountain. Initially, this hit me wrong because the mischief contrasted with the feel of the number, but that is minimal compared to the shot of the girl crying. Wearing a big, yellow bonnet and sitting up to her bloomers in water, she looks like the deformed baby from Alice in Wonderland. I'm certain this was not intentional. (What a strange observation.)
Still, the number is wonderful eye candy and properly shows that this is the world Oliver belongs in.

Nancy would be perfect on "The Jerry Springer" show. Heck, she could even sing this song. Is this meant to be a touching song about Nancy's love for Bill or is it a horrific song about a woman so co-dependent that she is left spineless, brainless and blind to abuse? Today, with so much emphasis put on equality, battered wives and spousal abuse, the relationship is only a study in horror. Maybe it was never meant to be anything less than that, but occasionally I get the feeling that this is supposed to be a 'doomed, star-crossed lovers' relationship, so common in musical theatre of the time. If we are supposed to understand and hope for the relationship, the film fails miserably.

As Long as He Needs Me
Oh, Yes, He Does Need Me
In Spite of What You See
I'm Sure That He Needs Me
Who Else Would Love Him Still
When They've Been Used So iIl
He Knows I Always Will
As Long as He Needs Me.

After so much heavy drama, this lighter song is welcomed even if it does not change the current tone. The kitchen has gotten too hot for Fagin so he is considering running away. Each verse he sings has him out the door and humourously finishes with him returning to his den.

I'm Reviewing the Situation
Can a Fellah be a Villain all his Life?
All the Trials and Tribulations
Better Settle Down and Get Myself a Wife!
And the Wife will Cook and Sew for Me
And Come for Me and Go for Me
And Go for Me and Nag at me
The Finger She would Wag at Me
The Money She Would Take From Me
A Misery She'd Make from Me...
I Think I'd better Think it out Again.

In an effort to get the boy away from Bill, Nancy sings this fun, bar song. When all the bar patrons are up and rowdy, she steals Oliver away, only to get caught and beaten by Bill.

Mister Percy Snodgrass
Would Often Have the Odd Glass
But Never When He Thought Anybody Could See
Secretly He'd Buy it
And Drink it on the Quiet
And Dream He was at Home with a Girl on Each Knee

All his riches drown in the dense mud, Fagin now considers turning over a new leaf again. This time actually from square one. He will turn good and the Sun breaking through at the horizon helps boost his resolve. He valiantly walks toward his new life only to be stopped by Dodger armed with a knowing smile and a freshly lifted wallet. Reunited, the two sing:

Once a Villain you're a Villain to the End

Oliver had a great career both onstage and onscreen. In fact the musical won 6 Academy Awards including Best Picture. Mark Lester in the title role, is great as the soft voiced little urchin with a heart of gold. His vocal stylings have lost their power over the years, a statement sure to aggravate many. But, his performance when combined with the sensational Ron Moody, Jack Wild and the frightening Oliver Reed make for a great transfer from stage to screen. A few of the songs truly benefited by the leap to the screen. Especially Boy for Sale, Consider Yourself, Who Will Buy and Oom-Pah-Pah. A Great film with a strong cult following, Oliver is still as relevant today as it was in 1968. Enjoy it.

The Cast				Stage to Screen
The Crew				The Store
The Songs				The Links

Order the DVD here	Order the VHS here	Order the Broadway Cast Recording here
Order the David Lean Oliver Twist on DVD here	Order Disney's Oliver Twist here	Order the audio book Oliver Twist here
Order the novel Oliver Twist here	Order Oliver and Company VHS here	Order Oliver and Company DVD here