A poor girl falls for a wealthy young man. He invites her to his gala birthday party, but she doesn't have the right kind of dress to wear, so her family and friends band together to raise ... See full summary »
When David's father dies, his mother remarries. His new stepfather Murdstone has a mean and cruel view on how to raise a child. When David's mother dies from grief, Murdstone sends David to... See full summary »
Edna May Oliver
Nineteenth century England. When Nicholas Nickleby's father dies and leaves his family destitute, his uncle, the greedy moneylender, Ralph Nickleby, finds Nicholas a job teaching in a ... See full summary »
Journalist Steve O'Malley wants to write a biography of a national hero who died when his car ran off a bridge. Steve receives conflicting reports and tales that make him question what the truth about the hero is.
While this film is not especially well-remembered today, and has been eclipsed by practically all of the later film versions of the Charles Dickens novel, it did begin a Hollywood "fad" for Dickens that lasted for about five years. It was followed by Great Expectations (1934) (a poorly reviewed and now forgotten version with Jane Wyatt and Phillips Holmes), the classic MGM all-star David Copperfield (1935), Universal's Mystery of Edwin Drood (1935) (with Claude Rains), the classic A Tale of Two Cities (1935) - another MGM Dickens blockbuster - and MGM's 1938 A Christmas Carol (1938) with Reginald Owen. There would be very few versions of Dickens from Hollywood after that; most films based on Dickens' books would be made by British studios. However, notable exceptions have been the many versions of "A Christmas Carol" produced for American television. See more »
When Oliver is trying to keep up with the horse cart on his adventure to London, he is clearly stopping each time to get into the correct position before doing a flip. See more »
My baby, my boy. I want to see him.
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A sincere,but atrociously acted and flatly staged film version of the book, with no authentic period flavor whatsoever. Dickie Moore is so syrupy sweet you want to slap him; Irving Pichel tries very hard but is just adequate as Fagin, as is Doris Lloyd as Nancy, but William (Stage) Boyd acts as if he thought he were doing one of those corny silent melodramas. Lionel Belmore (not to be confused with Lionel Barrymore) gives a very stereotypical performance as Mr. Bumble, and nobody else makes any kind of an impression whatever.
An embarrassment to the memory of a great author, and especially so when compared with so many other Dickens films.
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