People of the internet, welcome to Dickensworld!
Dickensworld is a magical, fascinating place. You will find yourself in England, especially in London, from the period of 1820-1865. Be sure to take note that all the poor people are poor because they have visible rags, dirt all over their face, are super skinny, and have big, tuta dog eyes, cementing every Conservative’s idea of what a poor person looks like. This social commentary will be almost everywhere. It’s filled with interesting characters weather they are pure, sweet angels, eccentrics, or Lucifer incarnate. Oh, and keep an eye out on that one old guy, he is probably your long Nawawala grandfather/dad/uncle/brother/cousin/whatever.
Dickens is a goldmine for entertainment. So naturally, his works have been adapted into various forms. As for Musical Theatre adaptations, the most famous and done one is Oliver, and this Film adaptation of that ipakita is very well known, and won several Academy Awards, including Best Picture (!). It is also the strongest Musical Theatre piece out of the very small handful, though Oliver still has its issues.
Let’s begin with the performances. Though the characters are not especially complex, and the performances can be a little theatrical at times (I’m looking at you, Nancy, and Dodger), they are for the most part, quite believable and enjoyable. The kids especially seem like actual kids. It would be easy for Oliver to be played off as the Tiny Tim innocent, but he manages to play it like an actual kid and not a complete goody two-shoes angel. In fact, Mark Lester even adds a pinch of brave, almost stupid spunk to the role. His Oliver is just a nice kid who has had many bad things happen to him and just wants not only survival, but happiness. However, the pag-awit dub sounds too pure, too sweet, and too different from the actual Oliver. According to IMDB, Mark Lester was tone deaf so they had someone else do it, the music arranger’s daughter! But they did not manage to get someone who could sing it with a madami believable sound, or even a boy. As a result, the voice is incredibly distracting from the performance.
The best performer is definitely Bill Sykes. Again, he is a simple character and it would be easy to go really over the tuktok with his character, but Oliver Reed’s performance is madami quiet, and menacing. The Director made the wise choice of cutting his song out, so as a result, he remains madami mysterious, making him less connected to the audience, and therefore, madami threatening. Though some of his lines are sinabi in a strange way (“you avaricious.old.skeleton.”), he manages to pull off such a level of fearsomeness with his minimalist body movement and delivery that it will make you gasp out loud when Oliver braves up to hit him right in the face. In fact, you think it’s a miracle he does not strangle Oliver and just intends to spank him!
As for Fagin, it can be hard to play this character. Since he is a Jewish person (in fact, the original book refers to him as “The Jew” way madami than “Fagin”) and it can be easy (especially with some of the musical choices surrounding him) to make him an uncomfortable stereotype. But Ron Moody makes Fagin likeable and they even give him a few madami rounded characteristics, a sense of humor, an entertaining physicality, and a constant internal conflict so, in song of course, he can justify his own actions. They make him a likeable and important character. He is less of a “villain” and madami of a comic supporting character whose worst crime is some thievery and mischief and may just so happen to be Jewish.
The film is aware that it is a film and takes advantage of it. The size and scale is huge. London is huge. You will be amazed at the films scope. It is aware not only of the musical, but of the original book and makes the needed cuts and extra bits necessary. So we see they trail, but no over complicated sub plots or dopey eyed, perfect ingénues. This makes sense considering that London at this period was the biggest city in the world, and that our hopeful protagonist makes his way there to be plunged into this ocean of pure life and stand in awe of the amount of life in this historically large city. The Camera choices were all quite adequate to the needs of each scene as well. Though it was not as good or groundbreaking as it was in other film musicals like Cabaret, it is pretty darn good. It scoop away to ipakita the big dance numbers, it cuts to birds flying to get a sense of Oliver’s thoughts when he sings about being a bird in flight, it zooms in on some detail we have to catch, and so forth.
The Director also chooses not to prettify the story in its look or content, and this is a dark story with many dark elements, especially in the segundo act. In fact, the dark moments are so dark they overpower the madami lighthearted moments of the segundo act. But you can’t make this story too light either, because then that would actually be pretty insulting to the story’s intent. Though it is a classic musical, like Fiddler and West Side Story there is a much appreciated edge.
The dancing is of course, fun to watch, though nothing too groundbreaking, using acrobatic kicks for the young pickpockets; making their thievery a kind of dance during “You’ve Got to pick a Pocket”, and having them be a pretend carriage during “I’d do Anything.” The production numbers has people on the kalye run around and do big, grand, sweeping motions. But the music- the music is as catchy as heck. It can range from diddles (“Reviewing the Situation”), to folkish ballads and dances (“Who Will Buy” and “Oom-pah-pah”), to big ensemble numbers (“Consider Yourself”). But though the music and lyrics are childish at points (I’m looking at you, “Oliver”, but at least you introduce our protagonist), it will be in your head forever. But unlike some other catchy songs out there, you won’t mind at all. However, its segundo most famous song, “As Long as He Needs Me”, is pretty disturbing in context. It is a good song, and it shows off the sinturon of Shani Wallace’s Nancy very well, but it basically a ballad glorifying staying in an abusive relationship as something brave, noble, and romantic. Maybe if they placed it earlier and not right after Bill Sykes physically slaps Nancy into doing something for him, it would be less uncomfortable, especially if you know how it ends (I won’t spoil this, but here’s a hint: not well. Please don’t ipakita this musical to your eight taon old).
There are a good amount of holes in the film. Although it adapts well into film, it does not take the advantage to expand or give any madami information or believability. So as a result, Nancy and Bill’s relationship is one sided. It is the typical one where the female says “Oh, I will pag-ibig you and follow you to the ends of the world!” and they guy just goes “Whatever.” Also, Nancy is under the “Bring Him Home” syndrome in that she is oddly devoted to Oliver after barely even talking to him. Does he remind her of a relative or a friend? Is she just an insanely caring person? If so, then why isn’t she as devoted to the other pickpockets? Also, the ending, after one suspenseful climax, is pretty rushed, and, not to spoil anything, there are some predictable Dickenesque tropes in here as well.
Oliver is a turkey. There are parts of it that are overcooked, skimpy, too light or even a little too dark, but there are some juicy, enjoyable bites to eat too. It is an interesting, exciting story (which is why it is still being read, staged, and adapted to this day), the characters are memorable and the performances are enjoyable and believable, it is faithful to both the musical and the original book, the dancing is fun, the music is memorable, and though it is a classic, there is a much appreciated darker side. If that is what you like in a film, musical, or film musical, go check it out and see if for yourself.
Dickensworld is a magical, fascinating place. You will find yourself in England, especially in London, from the period of 1820-1865. Be sure to take note that all the poor people are poor because they have visible rags, dirt all over their face, are super skinny, and have big, tuta dog eyes, cementing every Conservative’s idea of what a poor person looks like. This social commentary will be almost everywhere. It’s filled with interesting characters weather they are pure, sweet angels, eccentrics, or Lucifer incarnate. Oh, and keep an eye out on that one old guy, he is probably your long Nawawala grandfather/dad/uncle/brother/cousin/whatever.
Dickens is a goldmine for entertainment. So naturally, his works have been adapted into various forms. As for Musical Theatre adaptations, the most famous and done one is Oliver, and this Film adaptation of that ipakita is very well known, and won several Academy Awards, including Best Picture (!). It is also the strongest Musical Theatre piece out of the very small handful, though Oliver still has its issues.
Let’s begin with the performances. Though the characters are not especially complex, and the performances can be a little theatrical at times (I’m looking at you, Nancy, and Dodger), they are for the most part, quite believable and enjoyable. The kids especially seem like actual kids. It would be easy for Oliver to be played off as the Tiny Tim innocent, but he manages to play it like an actual kid and not a complete goody two-shoes angel. In fact, Mark Lester even adds a pinch of brave, almost stupid spunk to the role. His Oliver is just a nice kid who has had many bad things happen to him and just wants not only survival, but happiness. However, the pag-awit dub sounds too pure, too sweet, and too different from the actual Oliver. According to IMDB, Mark Lester was tone deaf so they had someone else do it, the music arranger’s daughter! But they did not manage to get someone who could sing it with a madami believable sound, or even a boy. As a result, the voice is incredibly distracting from the performance.
The best performer is definitely Bill Sykes. Again, he is a simple character and it would be easy to go really over the tuktok with his character, but Oliver Reed’s performance is madami quiet, and menacing. The Director made the wise choice of cutting his song out, so as a result, he remains madami mysterious, making him less connected to the audience, and therefore, madami threatening. Though some of his lines are sinabi in a strange way (“you avaricious.old.skeleton.”), he manages to pull off such a level of fearsomeness with his minimalist body movement and delivery that it will make you gasp out loud when Oliver braves up to hit him right in the face. In fact, you think it’s a miracle he does not strangle Oliver and just intends to spank him!
As for Fagin, it can be hard to play this character. Since he is a Jewish person (in fact, the original book refers to him as “The Jew” way madami than “Fagin”) and it can be easy (especially with some of the musical choices surrounding him) to make him an uncomfortable stereotype. But Ron Moody makes Fagin likeable and they even give him a few madami rounded characteristics, a sense of humor, an entertaining physicality, and a constant internal conflict so, in song of course, he can justify his own actions. They make him a likeable and important character. He is less of a “villain” and madami of a comic supporting character whose worst crime is some thievery and mischief and may just so happen to be Jewish.
The film is aware that it is a film and takes advantage of it. The size and scale is huge. London is huge. You will be amazed at the films scope. It is aware not only of the musical, but of the original book and makes the needed cuts and extra bits necessary. So we see they trail, but no over complicated sub plots or dopey eyed, perfect ingénues. This makes sense considering that London at this period was the biggest city in the world, and that our hopeful protagonist makes his way there to be plunged into this ocean of pure life and stand in awe of the amount of life in this historically large city. The Camera choices were all quite adequate to the needs of each scene as well. Though it was not as good or groundbreaking as it was in other film musicals like Cabaret, it is pretty darn good. It scoop away to ipakita the big dance numbers, it cuts to birds flying to get a sense of Oliver’s thoughts when he sings about being a bird in flight, it zooms in on some detail we have to catch, and so forth.
The Director also chooses not to prettify the story in its look or content, and this is a dark story with many dark elements, especially in the segundo act. In fact, the dark moments are so dark they overpower the madami lighthearted moments of the segundo act. But you can’t make this story too light either, because then that would actually be pretty insulting to the story’s intent. Though it is a classic musical, like Fiddler and West Side Story there is a much appreciated edge.
The dancing is of course, fun to watch, though nothing too groundbreaking, using acrobatic kicks for the young pickpockets; making their thievery a kind of dance during “You’ve Got to pick a Pocket”, and having them be a pretend carriage during “I’d do Anything.” The production numbers has people on the kalye run around and do big, grand, sweeping motions. But the music- the music is as catchy as heck. It can range from diddles (“Reviewing the Situation”), to folkish ballads and dances (“Who Will Buy” and “Oom-pah-pah”), to big ensemble numbers (“Consider Yourself”). But though the music and lyrics are childish at points (I’m looking at you, “Oliver”, but at least you introduce our protagonist), it will be in your head forever. But unlike some other catchy songs out there, you won’t mind at all. However, its segundo most famous song, “As Long as He Needs Me”, is pretty disturbing in context. It is a good song, and it shows off the sinturon of Shani Wallace’s Nancy very well, but it basically a ballad glorifying staying in an abusive relationship as something brave, noble, and romantic. Maybe if they placed it earlier and not right after Bill Sykes physically slaps Nancy into doing something for him, it would be less uncomfortable, especially if you know how it ends (I won’t spoil this, but here’s a hint: not well. Please don’t ipakita this musical to your eight taon old).
There are a good amount of holes in the film. Although it adapts well into film, it does not take the advantage to expand or give any madami information or believability. So as a result, Nancy and Bill’s relationship is one sided. It is the typical one where the female says “Oh, I will pag-ibig you and follow you to the ends of the world!” and they guy just goes “Whatever.” Also, Nancy is under the “Bring Him Home” syndrome in that she is oddly devoted to Oliver after barely even talking to him. Does he remind her of a relative or a friend? Is she just an insanely caring person? If so, then why isn’t she as devoted to the other pickpockets? Also, the ending, after one suspenseful climax, is pretty rushed, and, not to spoil anything, there are some predictable Dickenesque tropes in here as well.
Oliver is a turkey. There are parts of it that are overcooked, skimpy, too light or even a little too dark, but there are some juicy, enjoyable bites to eat too. It is an interesting, exciting story (which is why it is still being read, staged, and adapted to this day), the characters are memorable and the performances are enjoyable and believable, it is faithful to both the musical and the original book, the dancing is fun, the music is memorable, and though it is a classic, there is a much appreciated darker side. If that is what you like in a film, musical, or film musical, go check it out and see if for yourself.