OLIVER TWIST
Directed by: Roman Polanski.
Produced by: Robert Benmussa, Roman Polanski & Alain Sarde.
Written by: Ronald Harwood, based on the novel by Charles Dickens.
Director of Photography: Pawel Edelman.
Edited by: Hervé de Luze.
Music by: Rachel Portman.
Released by: TriStar.
Language: English.
Country of Origin: UK/Czech Republic/France/Italy. 130 min. Rated: PG-13.
With: Ben Kingsley, Barney Clark, Jamie Foreman, Harry Eden & Leanne Rowe.
DVD Features: "Twist by Polanski" and ""The Best of Twist," two behind-the-scenes documentaries. "Kidding with Oliver Twist." English & French subtitles.

The grandeur of great literature lies in its lung capacity - that is, its ability to hold breath over time and resurface as a vital work. Over 26 movie adaptations have been attributed to Charles Dickens' Oliver Twist, and Roman Polanski's version is the latest reaffirmation of how young Oliver continues to conquer and prevail over both time and circumstance. Polanski, with his brilliant re-imagination of 19th century London, deftly transports the viewer and rejuvenates time-worn but still vibrantly colorful characters, such as the infamous Fagin. Ben Kingsley fits this villainous role perfectly - not a simple task - enthusing in the viewer just the perfect blend of emotions: two parts sympathy to one part disgust. Barney Clark, too, is the ideal Oliver, with his handsomely androgynous facial features and emaciated physique. In his bright blue eyes alone, Clark effortlessly embodies the idyllic Twist traits, carrying out a sweet and naďve portrayal of the unfortunate orphan.

After Polanski's Academy-Award winning The Pianist (another story of a survival), Polanski's task is a daunting one: first, to confront towering levels of audience expectations, and second, to take on a much treasured classic, one that (to make matters more difficult) belongs to a class of literature in which character is subservient to action, rather than the other way around. Especially in a novel like Oliver Twist, where character psychology for the most part is repressed, it is even more difficult to stir an audience's emotions. Polanski does not, and can not, really, re-imagine Oliver Twist in a dramatically new fashion, without changing the very essence of the Oliver Twist that he is re-creating.

Staying, for the most part, true to Dickens' highly literary text (though cutting out meandering storylines and subplots - we miss the whole period of Oliver's birth and childhood that is captured in David Lean's renowned version, for example), Polanski seems not to be attempting a reinvention, but rather, urging the classic into 2005. If nothing else, Polanski is making the past accessible to the present - an impressive feat in itself. Through Polanski's film, today's viewers are introduced to the abused, alcoholic street children of newly industrialized 1830s London, where prostitution and thievery prevail, and murder is no rare occurrence. Although perhaps not the ideal children's film, Oliver Twist goes beyond its literary and artistic value to bestow upon viewers a socially conscious view of our past, and in doing so, reminding us of the not-so-perfect conditions of the present. Polanski accomplishes this in an alluring and captivating manner through the cinematography (the lighting used to illuminate the characters' larger than lifeness is simply enchanting) and clever casting, bringing to life again this cherished and beloved classic. Parisa Vaziri
September 23, 2005

DVD Extras: The dry but in-depth “Twist by Polanski” explains the casting procedures, the decision to streamline the plot, and Roman Polanski’s inspiration to make the film, his children. Drawing from his emotions of being an orphan during World War II, Polanski made this film believing the story is still pertinent and relatable in today’s society. Interestingly, actor Lewis Chase confides the director wanted a lot of energy and fire from his cast, which isn’t quite evident in the film’s final action-packed, yet subdued act. “The Best of Twist” takes a more hands-on approach, explaining the resources used to recreate Victorian London. There is also a short segment of little value, the video diary of the film’s star, Barney Clark. Michael Wong
Jaunuary 24, 2005