| Photos (see all 28 | slideshow) |
Directed by | |||
| David Lean | |||
Writing credits | ||
| Charles Dickens | (by) | |
| David Lean | (screenplay) and | |
| Stanley Haynes | (screenplay) | |
| Eric Ambler | contributor to screenplay (uncredited) | |
| Kay Walsh | contributor to screenplay (uncredited) | |
Produced by | |||
| Ronald Neame | .... | producer | |
Original Music by | |||
| Arnold Bax | (music composed by) (as Sir Arnold Bax, D. Mus., Master of the King's Musick) | ||
Cinematography by | |||
| Guy Green | (photographed by) | ||
Film Editing by | |||
| Jack Harris | |||
Casting by | |||
| Dennis Van Thal | (uncredited) | ||
Set Decoration by | |||
| T. Hopewell Ash | (uncredited) | ||
| Claude Momsay | (uncredited) | ||
Costume Design by | |||
| Margaret Furse | (costumes) | ||
Makeup Department | |||
| Stuart Freeborn | .... | make-up (as Stuart Freebourne) | |
| George Blackler | .... | make-up associate (uncredited) | |
| Biddy Chrystal | .... | hairdresser (uncredited) | |
Production Management | |||
| Norman Spencer | .... | production manager | |
| Pat MacDonnell | .... | assistant production manager (uncredited) | |
| Bob McNaught | .... | assistant production manager (uncredited) | |
Second Unit Director or Assistant Director | |||
| George Pollock | .... | assistant director | |
| Chuck Simpson | .... | second assistant director (uncredited) | |
Art Department | |||
| John Bryan | .... | set designer | |
| T. Hopewell Ash | .... | assistant art director (uncredited) | |
| Claude Mauncy | .... | set dresser (uncredited) | |
| Geoffrey Woodward | .... | assistant art director (uncredited) | |
Sound Department | |||
| Stanley Lambourne | .... | sound recordist | |
| Gordon K. McCallum | .... | sound recordist | |
| Winston Ryder | .... | sound editor | |
| George Paternoster | .... | boom operator (uncredited) | |
Special Effects by | |||
| Stanley Grant | .... | special effects | |
| Joan Suttie | .... | special effects | |
Visual Effects by | |||
| Les Bowie | .... | matte painter (uncredited) | |
Camera and Electrical Department | |||
| Oswald Morris | .... | camera operator | |
| Jim Body | .... | focus puller (uncredited) | |
| John Godar | .... | focus puller (uncredited) | |
| Alan Hume | .... | focus puller (uncredited) | |
| Charles Trigg | .... | still photographer (uncredited) | |
Costume and Wardrobe Department | |||
| Dorothy Edwards | .... | wardrobe mistress (uncredited) | |
| Bob Rayner | .... | wardrobe master (uncredited) | |
Editorial Department | |||
| Clive Donner | .... | second assistant editor (uncredited) | |
Music Department | |||
| The Philharmonia Orchestra of London | .... | performers: "The 'Oliver' Themes" | |
| John Huntley | .... | music staff (uncredited) | |
Other crew | |||
| J. Arthur Rank | .... | presenter (as J.Arthur Rank) | |
| Maggie Unsworth | .... | continuity (as Margaret Sibley) | |
| Wenham Bill | .... | production assistant (uncredited) | |
| Stuart Chant | .... | publicist (uncredited) | |
| Iris Dalton | .... | production secretary (uncredited) | |
| Vicky Fuggle | .... | production secretary (uncredited) | |
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| Oliver Twist | Oliver! | Nicholas Nickleby | Great Expectations | Oliver Twist |
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Still the most Dickensian of all the Oliver Twist films David Lean's inspired version, never the less is much indebted in its style to the German Expressionist Cinema. It's London is more related to Fritz Lang than Victorian England but the spirit of Dickens is alive and well in the accurately drawn caricatures from the novel. Outstanding performances by Francis J. Sullivan as ridiculous Mr. Bumble, Alec Guiness's chillingly evil Fagin despite a badly judged nose job, and the eye boggling twitching Robert Newton as the ferocious Bill Sykes. Even his dog trembles at his temper, in fact the dog is a major actor in this version.
John Newton Howard is a rather angelic Oliver, with a more refined delivery than one would have expected from a workhouse background. But it all goes decidedly well thanks to Lean's superb direction, stunning images, clever editing and a sterling cast. Viewed today so many years after it was filmed it remains the most vivid and Gothic recreation of the story. Probably Charles Dickens would approve. The heroic length recent version by Roman Polanski is generally faithful to the novel but lacks the pizazz and humour that is in Dicken's writing. David Lean made only two excursions into Dickens (Oliver Twist and Great Expectations) both milestones in cinema. One can but wonder how well he may have brought Bleak House or Our Mutual Friend to the screen.