The classic Dickens tale of an orphan boy who escapes the horrors of the orphanage only to be taken in by a band of thieves and pickpockets.

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Nominated for 1 Primetime Emmy. See more awards »

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Cast

Cast overview, first billed only:
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Mrs. Mann
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Eleanor David ...
Philip Locke ...
Ann Beach ...
Artro Morris ...
Mr. Giles
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Brenda Cowling ...
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Storyline

The classic Dickens tale of an orphan boy who escapes the horrors of the orphanage only to be taken in by a band of thieves and pickpockets.

Plot Summary | Add Synopsis

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A Compelling New Version of the Great Victorian Classic

Genres:

Crime | Drama

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Release Date:

23 March 1982 (USA)  »

Also Known As:

Twist Olivér  »

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4:3
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Did You Know?

Trivia

This film was made for and premiered on US television, but it was released theatrically in some overseas territories. See more »

Quotes

Bill Sikes: [as he has a gun pressed against the underside of Oliver's chin and aimed upwards] You see this, boy?
See more »

Connections

Version of Oliver Twist (1997) See more »

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User Reviews

 
Gets at the Dirty Side
24 September 2001 | by (United States) – See all my reviews

Because I like George C. Scott, I am fond of this film. He is a very worthy Fagin, one with a hard edge, and a sense of evil. Too often, we forget he is an opportunist and a user of young boys. He is not the sweet old man that we see in the musical. I also thought that Tim Curry had that look of evil that he is quite good at. There are scenes, such as the death of Nancy, that are almost too cruel for the audience. Fagin betrays her because of self interest and sets the psychopathic Sykes after her. The boys are pretty good because they get at the baser sides of life. The back streets of London are well presented. The workhouse scenes are acceptable. The one really weak characterization is that of Oliver. The child who plays him is really weak and seems to be coached. When he cries he's not convincing. The rest of the people are so much more interesting. Then again, I don't know if I like Oliver all that much anyway. What Clive Donner does capture is the spirit of the times, much as he does in the later Scott version of A Christmas Carol. This is entertaining enough, though it suffers a bit from the made-for-television syndrome of parceling out commercials.


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