A young American woman (Sydne Rome) traveling through Italy finds herself in a strange Mediterranean villa where nothing seems right. Her visit becomes an absurd, decadent, oversexed ... See full summary »
In the Nineteenth Century, orphan Oliver Twist is sent from the orphanage to a workhouse, where the children are mistreated and barely fed. He moves to the house of an undertaker, but after an unfair severe spank, he starts a seven day runaway to London. He arrives exhausted and starving, and is soon welcomed in a gang of pickpockets lead by the old crook Fagin. When he is mistakenly taken as a thief, the wealthy victim Mr. Brownlow brings Oliver to his home and shelters him. But Fagin and the dangerous Bill Sykes decide to kidnap Oliver to burglarize Mr. Brownlow's fancy house.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Most of the sets designed were inspired by the work of the famous illustrator Gustave Doré (although Doré never did actually illustrate any of Charles Dickens' novels). See more »
When Oliver first meets Nancy, two women and the Artful Dodger play a card game. Dodger asks Nancy to cut the deck in half, and she splits the card into two piles. When Dodger returns them into two piles, he puts the half that was originally on top, on top again. He might have been cheating, but this could also be an error in the film. See more »
A terrible thing, Oliver... hangin'. The dawn... the noose, the gallows, the drop! You don't even have to be guilty, they'll hang you for anything these days, that's because they're so very fond of hangin'!
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Roman Polanski's film is an authoritative take on Dickens' classic. It is expertly paced, slowly immersing the viewer into the plight of the young orphan and its predicament in Victorian England. Through a meticulous period reconstruction, superb acting, and effective characterization (all the secondary characters are memorable), the typically Dickensian theme of the survival of Innocence against all odds is dramatized with utter conviction. The omission of the excessively melodramatic elements from the original story (Oliver's family back-story for instance) contributes greatly to the story's strength by minimizing any trace of implausibility or mawkishness, thus providing a wide-ranging portrait of the Victorian society with its intrinsic inequalities and its rather warped sense of justice. The visuals are splendid and the prevalent detached and non-judgmental approach to an easily emotive story is simply the signature of master director Roman Polanski, who is functioning here on top form.
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