How does one condense a 500 page classic of Victorian literature into a 2 hr film while encompassing the rich characterisations of Dicken's characters - their wit and satire - and the grimy, scrubbed streets of downtown London, all with the addition of a full music score and lyrics? The result is one of the best film musicals ever. This is quite remarkable considering that the American school in Rodgers, Hart, Hammerstein. Kern, Porter, Berlin and Freed, had always dominated the musical scene in superlative musical and lyric writing.
Based of the 1960s stage musical by Lionel Bart, the songs are now instantly recognisable today and and irresistible to sing along to. In fact no one number in the film fails to surprise and impress you with the elaborate set design and extravagant choreography. In particular, the numbers "Consider Yourself" and "You've Got To Pick A Pocket Or Two" really took my breath away with their energy and excitement. The singing is also top notch with Fagin and Nancy both stand-out singers able to convey such joy, mischievous, sorrow and tender emotion. It was a fantastic treat to watch them dance wholeheartedly and interact so naturally with the characters and sets.
The Oscar winning direction by female(!) director Carol Reed is perceptive and very sharp with a fantastic eye for colour and movement as a musical expects. She is fully in control of every scene and explores all the camera angles and filming possibilities from what is a very lively set. Even the quiet moments in the film, filled with the "recitative" scenes are uniquely shot and keep this film fresh, ahead of it's competition.
The peripheral characters are the most charismatic in the film with Fagin shining as the sly and witty leader of and manager of street pickpockets. He encompasses the role so well and completely has a ball. Nancy (scandalously missing out on the nom) was also beautiful to watch, wholly developing from another common-street girl to a mature surrogate for Oliver, making her own courageous conscience and sacrificing a bold heart. It was a joy to watch both of them support the film and provide some of it's most memorable moments. The Artful Dodger was impossible to resist and the perfect friend you would to have on a cold, dirty, starving day. He was played with such maturity and confidence add a romping playfulness to keep things bumping along. Paradoxically, the title character was the most dull person in the film by far. He ended up being too naive and timid throughout, and was constantly overshadowed by the other characters. In the end, I didn't feel like he did anything at all or even contributed anything to the story other than his name.
For those not a fan of musicals, you may find it disconcerting when action stops to allow the musical numbers to convey the atmosphere and deepest emotions of the characters. And I must admit, it is a little abrupt at times; certainly it is extraneous. None more obvious than in the "Consider Yourself" and "Who Will Buy A Rose" numbers. While the extravagance is welcome, it is all too easy for the cynic to say "People don't stop everything and burst into song for no reason". These parts were enjoyable, and very funny.
This was a surprisingly good musical with fantastic visual and tuneful sequences. It proves that the English can do musicals with just as much flair and grandeur as the heavyweight American schools all the craze in the 30s, 40s and 50s. A deserved winner of Best Picture & Director, it it easy to overlook this film. There is no "big" message, it is a light comedic musical film, it is far from an original story and idea, and it is produced outside the grand Hollywood system. But given such modern musical classics such as The Sound Of Music, West Side Story and most recently Chicago and Dreamgirls, Oliver! shows us that great musicals come only too seldom yet when they do they provide grand entertainment.
Based of the 1960s stage musical by Lionel Bart, the songs are now instantly recognisable today and and irresistible to sing along to. In fact no one number in the film fails to surprise and impress you with the elaborate set design and extravagant choreography. In particular, the numbers "Consider Yourself" and "You've Got To Pick A Pocket Or Two" really took my breath away with their energy and excitement. The singing is also top notch with Fagin and Nancy both stand-out singers able to convey such joy, mischievous, sorrow and tender emotion. It was a fantastic treat to watch them dance wholeheartedly and interact so naturally with the characters and sets.
The Oscar winning direction by female(!) director Carol Reed is perceptive and very sharp with a fantastic eye for colour and movement as a musical expects. She is fully in control of every scene and explores all the camera angles and filming possibilities from what is a very lively set. Even the quiet moments in the film, filled with the "recitative" scenes are uniquely shot and keep this film fresh, ahead of it's competition.
The peripheral characters are the most charismatic in the film with Fagin shining as the sly and witty leader of and manager of street pickpockets. He encompasses the role so well and completely has a ball. Nancy (scandalously missing out on the nom) was also beautiful to watch, wholly developing from another common-street girl to a mature surrogate for Oliver, making her own courageous conscience and sacrificing a bold heart. It was a joy to watch both of them support the film and provide some of it's most memorable moments. The Artful Dodger was impossible to resist and the perfect friend you would to have on a cold, dirty, starving day. He was played with such maturity and confidence add a romping playfulness to keep things bumping along. Paradoxically, the title character was the most dull person in the film by far. He ended up being too naive and timid throughout, and was constantly overshadowed by the other characters. In the end, I didn't feel like he did anything at all or even contributed anything to the story other than his name.
For those not a fan of musicals, you may find it disconcerting when action stops to allow the musical numbers to convey the atmosphere and deepest emotions of the characters. And I must admit, it is a little abrupt at times; certainly it is extraneous. None more obvious than in the "Consider Yourself" and "Who Will Buy A Rose" numbers. While the extravagance is welcome, it is all too easy for the cynic to say "People don't stop everything and burst into song for no reason". These parts were enjoyable, and very funny.
This was a surprisingly good musical with fantastic visual and tuneful sequences. It proves that the English can do musicals with just as much flair and grandeur as the heavyweight American schools all the craze in the 30s, 40s and 50s. A deserved winner of Best Picture & Director, it it easy to overlook this film. There is no "big" message, it is a light comedic musical film, it is far from an original story and idea, and it is produced outside the grand Hollywood system. But given such modern musical classics such as The Sound Of Music, West Side Story and most recently Chicago and Dreamgirls, Oliver! shows us that great musicals come only too seldom yet when they do they provide grand entertainment.