Lest frequent readers of this blog (and bless you all, every one!) assume the entirety of my childhood was spent watching only age-inappropriate movies that bore the tag “Suggested for Mature Audiences,” I present as Exhibit A: Oliver!; a G-rated favorite that not only stands as testament to my occasionally allowing the odd kid-friendly film to crack my self-styled precocity, but as proof that, at heart, I'm really a big, gooey, sloppy sentimentalist of the highest order.
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| Mark Lester as Oliver Twist |
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| Ron Moody as Fagin |
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| Jack Wild as Jack Dawkins, aka The Artful Dodger |
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| Shani Wallis as Nancy |
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| Oliver Reed as Bill Sikes |
Oliver! (oh, how I loathe exclamation points in musical titles) is the big-scale movie adaptation of Lionel Bart’s Tony Award-winning 1963 Broadway musical version of Charles Dickens’ 1838 novel Oliver Twist. A show that, having premiered to great success in London’s West End in 1960, is credited with being the first modern British musical to be transferred successfully to Broadway.
Taking place in the by turns poverty-stricken/opulent-wealth areas of London in the early 1830s, Oliver!relates the parable of workhouse orphan Oliver Twist (Lester) who, after running away from an abusive apprenticeship, is taken under the wing of streetwise pickpocket, the Artful Dodger (Wild), and finds a home of sorts with paternal petty thief, Fagin (Moody) and his motley crew of larcenous street urchins.
As befitting any Dickens story, we have a plenitude of scruffy, colorful, supporting characters. A maternal strumpet (prostitute Nancy played with winning charm by Shani Wallace), a brutish villain (the positively terrifying Oliver Reed), and the usual fateful quirks of coincidence and heredity (this time in the form of victim-turned-benefactor/possible blood-relation, Mr. Brownlow [Joseph O’Conor]) offering the only glimmers of hope in lives ruled by class and position.
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| Joseph O'Conor as Mr. Brownlow |
That I fell in love with a big, splashy, arguably over-produced musical is no surprise; that said musical featured swarms of singing and dancing children marked Oliver! as something of a departure for me. For in spite of being a mere kid myself —I was 11-years-old when I saw Oliver!—I was inclined to find child actors a distinctly insufferable breed (a point of view that hasn’t altered much over the years). They’re either trying too hard to be cute, tugging too aggressively at our heartstrings, or so grotesquely artificial and self-consciously “on” that they come across as pocket-size adults. That I never got around to seeing either The Sound of Music or Mary Poppinsuntil I was well into my 30s is due largely to the fact that for many years I went out of my way to avoid movies that even hinted at the presence of adorable tykes. Generally, I prefer onscreen depictions of children to hew more closely to how they appear to me in real life: i.e., Patty McCormack in The Bad Seed or Jane Withers in Bright Eyes.
I suppose Oliver! conforms to my flinty worldview by being faithful to Dickens’ customary juxtaposing of unapologetic sentimentality with harsh social realism. An alliance which, happily, leaves little room for cute. In fact, the angel-faced Oliver may be the story’s catalyst, but everyone knows the real stars are Fagin, The Artful Dodger, and the ragtag gang of East End reprobates that hang out at The Three Cripples Tavern. Making his musical film debut, director Carol Reed (Odd Man Out, The Third Man) is to be credited for his deft balancing of the brutal with the bathetic, granting the somewhat softened events and characters of Dickens' novel with just the right amount of edge to keep the still-and-all jaunty musical from slipping into mawkishness.
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| Peggy Mount and Harry Secombe as Mrs. & Mr. Bumble The harshness of Dickens' characters is leavened considerably by these roles assayed by comic actors |
Oliver! is one of my favorite period musicals. And by period, I mean the mid to late 1960s; that brief but prolific moment in time when movie theaters across the nation were full of the sound of music (as opposed to today, where all you hear coming from cineplexes is the whoosh of superhero capes). A time when movie studios, in hopes of unearthing another durable cash cow on the order of Julie Andrews’ nuns and Nazis romp, were falling over themselves buying up the film rights to any and all Broadway musicals. Sometimes before the shows had even opened. For example: the 1968 Burt Bacharach musical, Promises, Promises, a musical version of Billy Wilder's The Apartment, in spite of several stabs at treatments over the years—one to which John Travolta was briefly attached—never did make it to the big screen.
In 1968 alone, Oliver!duked it out at the boxoffice against Funny Girl, Finian’s Rainbow, Chitty Chitty Bang Bang, and Julie Andrews’ Star! (those exclamation points again…). All elephantine musicals of disparate merit, but each conceived as a roadshow attraction and each boasting studio-bankrupting budgets. Of that roster, only the twin Columbia Pictures releases Funny Girl and Oliver!, emerged bonafide hits; Funny Girl besting Oliver! At the boxoffice, but Oliver!trumping Funny Girl’s eight Oscar nominations with a whopping eleven, culminating in a 6-award sweep for that film, including Best Director and Best Picture. The latter bit sticking most in the craw of classic film fans.
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| The Artful Dodger welcomes Oliver into the fold in the rousing show-stopper "Consider Yourself" The influence of Oliver! on musicals of the era can be seen in the films: Bedknobs & Broomsticks, On a Clear Day You Can See Forever, Scrooge, Mr. Quilp, and of course, the aforementioned Annie |
Although the recipient of near-unanimous praise on its release (even Pauline Kael gave it a rave), virtually no one happening upon Oliver! today seems able to fathom how a pleasant, inarguably professional, but decidedly old-school and unremarkable musical entertainment like Oliver! managed to walk off with Best Picture and Best Director awards in a year that featured both Stanley Kubrick’s 2001: A Space Odyssey and Roman Polanski’s Rosemary’s Baby (a truly galling bit of trivia, as it wasn't even nominated).
While Rosemary's Baby gets my vote as Best Picture of 1968, If I had to stick to those nominated, Oliver! would actually be my personal choice. For what did we have?: The Lion in Winter—Peter O’Toole and Katherine Hepburn yelling for two hours; Funny Girl—aka, the Streisand Show; Rachel, Rachel—Paul Newman gives wife Joanne Woodward a 10thAnniversary present; Romeo & Juliet —hippified, youthquake Shakespeare mitigated by codpieces.
The problem seems to be that although beloved by many, the passing of time hasn’t been particularly kind to Oliver!. So in failing to be embraced by the same cloak of nostalgic revisionism that came to redeem onetime kiddie-flops like Willy Wonka and the Chocolate Factory and Chitty Chitty Bang Bang; Oliver! tends to show up on “Least-deserved Best Picture Oscar winners” lists, unfairly lumped together with genuine head-scratchers like Shakespeare in Love and The Greatest Show on Earth.
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| Trouble in Mind |
Notwithstanding the fact that I’m probably the only person ever to get all blubbery and teary-eyed upon just hearing the first notes of “I’d Do Anything” (hands-down favorite song in the entire score, everything about that number just floors me), Oliver! is mostly just a film I enjoy a great deal, not one whose themes resonate with me on some broader, deeper level (like Dickens’ A Christmas Carol).
Apart from it being my absolute favorite screen adaptation of Oliver Twist ever, capturing the look and feel of Dickens in an appealingly light/dark storybook fashion, I just think Oliver! is one of those solid, wholly enjoyable, escapist movies that so successfully accomplishes what it sets out to do, and does so in a manner that makes it all look so effortless, I’m afraid it has become a victim of its virtues. It’s become too easy to take the skill, talent, and craft behind Oliver! for granted. Which is rather surprising given how comfortable we seem to have grown with musical mediocrity: i.e., the film adaptations of Nine, Dreamgirls, and Mamma Mia ! (there’s that punctuation again…).
Oliver! is far from a perfect film, and in a way, I fully get how people can admire it and respect it, yet still not find it to be their cup of tea (insert British joke here). I relate this to my own feelings about the film version of My Fair Lady, a perfectly wonderful musical of its kind, but one I can barely tolerate. If you're not already fond of musicals, Oliver! is one so traditional in form, content and execution that its unlikely to produce many converts. The opening scenes at the workhouse, stylized and theatrical, take some getting used to, and by the time they launch into the sing-songy title tune, non-fans are likely to be heading for the exits. The only part that drags for me is the ballad "As Long as He Needs Me," a song well-performed by Wallis, but so sung to death on variety shows during the '60s that all it inspires in me is a Pavlovian need to take a restroom break.
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| Oliver! turns orphan Oliver Twist into something of a co-star in his own story, so my emotional involvement in the film has always been limited to Nancy's maternal concern for the boy and the lengths she goes to to protect him. On that score, Shani Wallis' performance is a real standout. |
Oliver! is far from a perfect film, and in a way, I fully get how people can admire it and respect it, yet still not find it to be their cup of tea (insert British joke here). I relate this to my own feelings about the film version of My Fair Lady, a perfectly wonderful musical of its kind, but one I can barely tolerate. If you're not already fond of musicals, Oliver! is one so traditional in form, content and execution that its unlikely to produce many converts. The opening scenes at the workhouse, stylized and theatrical, take some getting used to, and by the time they launch into the sing-songy title tune, non-fans are likely to be heading for the exits. The only part that drags for me is the ballad "As Long as He Needs Me," a song well-performed by Wallis, but so sung to death on variety shows during the '60s that all it inspires in me is a Pavlovian need to take a restroom break.
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| Hugh Griffith as The Magistrate |
PERFORMANCES
As is often the case with films, the best roles in Oliver! belong to the villains. Thus it’s hardly a surprise that Ron Moody’s Fagin and Jack Wild’s Artful Dodger were the performances singled out for Oscar nods. Personal favorite, 15-year-old Jack Wild, the real breakout star of Oliver!, is like a Cockney Cagney, commanding his scenes with an assurance and star-quality that easily justified his short-lived tenure as a '70s preteen heartthrob and star of the preternaturally weird TV show, HR Pufnstuf.
As Yul Brenner so embodied the King of Siam in The King and I that thereafter, I could never picture anyone else in the role, such is true of Ron Moody's Fagin. His may not be the sinister character of the book (Alec Guinness' grotesque performance and makeup in David Lean's 1948 version of Oliver Twist may be closer to what Dickens had in mind, but I seriously can't even watch it) but Moody's hammy take on Fagin as a harmless, self-interested charlatan is more to my liking.
As Yul Brenner so embodied the King of Siam in The King and I that thereafter, I could never picture anyone else in the role, such is true of Ron Moody's Fagin. His may not be the sinister character of the book (Alec Guinness' grotesque performance and makeup in David Lean's 1948 version of Oliver Twist may be closer to what Dickens had in mind, but I seriously can't even watch it) but Moody's hammy take on Fagin as a harmless, self-interested charlatan is more to my liking.
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| Beating out possible contenders Peter Sellers, Peter O'Toole, and (God help us) Dick Van Dyke, relative unknown Ron Moody had the opportunity to recreate the role he originated on the London stage |
Oliver Reed (nephew of Oliver!'s director, Carol Reed) is unsurpassed at playing brooding heavies, and his Bill Sikes is no exemption. Indeed, to hear surviving cast members tell it, Oliver Reed was every bit the holy terror his reputation made him out to be during filming, “He got one of my dancers pregnant!” blurted out choreographer Onna White during a 1998 Oliver! screening Q & A when asked about whether or not Reed was "difficult.”
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| Something that could never happen in today's all-access, Internet environment, for years Columbia Pictures was able to keep secret the fact that the angelic singing voice coming out of 9-year-old Mark Lester was actually that of 22-year-old Kathe Green, daughter of Oliver!'s Oscar-winning music arranger, Johnny Green. |
It's as easy to see why sweet-faced Mark Lester (who readily concedes to being tone-deaf and uncoordinated) was cast, just as it's easy to overlook his understated contribution to the film. His is a reactive and sympathetic role, and on both fronts the appealingly natural actor triumphs by some how not getting on everyone's nerves. If you think that's a small issue, check out the little boys cast as Patrick Dennis in Auntie Mame and Mame, sometime.
THE STUFF OF FANTASY
You'd have to had lived as long as I and bore witness to the gradual decline in all things musical and terpsichorean (don't get me started ... Rob Marshall/Glee/animated musicals) to understand the feelings of relief and gratitude which converge within me when I watch a film like Oliver!. What a miracle just to see a live-action musical that actually holds together! To have a cohesive plot that doesn't insult intelligence; tuneful songs staged and choreographed with variance (some intimate, some large-scale, some comedic) and innovation; actors who (by and large) can sing, dance AND act; British roles assayed by actual British actors; and, most importantly, a director with a cinematic eye who knows how to use film to tell a story.
"I'd Do Anything" (above): a perfect example of a musical number that could have ground the film to a halt, but director Reed and choreographer Onna White keep it light and amusing while using it as a device to reveal character and relationships. The song is performed as an unwitting parody of the kind of life Oliver is actually born to, but beneath the lyrics of exaggerated romantic fealty and behind the spoofing of formal airs and graces, the characters are revealing their genuine familial attachment to one another. Nancy and Bet being the surrogate mothers, Fagin, the stern (but ultimately playful) father. We see the origin of Nancy's protectiveness toward Oliver (she sees right away that he's not like the others), and get to contrast this more humane communal environment for wayward boys with that of the government-run workhouses. The entire number is a marvelously conceived and shot (check out how many camera angles they squeeze out of that small set), the song is adorable, and I can say it's honestly my favorite sequence in the entire movie.
THE STUFF OF DREAMS
While I think I've made a pretty good case for Oliver!, cataloging its merits apropos my fondness for it, I’d be less than honest if I didn't also reveal that no small part of the soft spot I harbor for this film are tied to the nostalgia and sentiment I attach to the time, place, and circumstances by which I first came to know of it.
BONUS MATERIAL
Childhood ain't what it used to be.
You can read about the sad circumstances of the late Jack Wild's adult life online. Take a look at this interview from 2002 (he passed away in 2006) in which he talks about his career and Oliver! YouTube
Listen to Jack Wild sing "Pronouns" from the H.R. Pufnstuf and other Sid & Marty Krofft Favorites CD
Mark Lester kept a pretty low-profile in his post-Oliver! days (he's an osteopath now) only to emerge from obscurity in 2013 alleging to be the sperm-donor father of Michael Jackson's kids (!!!) HERE
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| I love Oliver!'s whimsical art direction and set design |
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| Second-Act opener "Who Will Buy?": Probably one of the best large-scale choreographers of her day, Onna White (Bye Bye Birdie) pulls out the stops in Oliver!'s massive musical set pieces |
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| Example of the amazing work by cinematographer Oswald Morris (The Wiz) |
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| Jack Wild, Shani Wallis, Mark Lester, and Shelia White as Bet (Nancy's younger sister) |
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| A favorite unsung character in Oliver! is Bill Sikes' faithful dog, Bulls Eye |
Oliver Reed in Life magazine 1968: “Every actor knows better than to appear with animals or children, so here I am with a bloody dog and all these kids!”
While I think I've made a pretty good case for Oliver!, cataloging its merits apropos my fondness for it, I’d be less than honest if I didn't also reveal that no small part of the soft spot I harbor for this film are tied to the nostalgia and sentiment I attach to the time, place, and circumstances by which I first came to know of it.
Oliver! premiered as part of a Christmas season roadshow/reserved ticket engagement at San Francisco’s Alexandria Theater in 1968, but as there were five of us in our household and therefore too pricey, we had to wait a few months later when it opened wide (“At popular prices!”), sans overture, intermission, and exit music. It played for weeks at my beloved Embassy Theater on Market Street – site of so many of my fondest early moviegoing memories – and I returned every weekend. I think I saw Oliver! about six times. But the best thing about seeing Oliver! for the first time was that my mom went with us.
My mom and dad were divorced at the time and my mom was several years from meeting my stepfather-to-be, so as a single, working mother of four, she counted on me and my three sisters going to the movies on Saturdays as a way to get a little peace and quiet around the house. However, on this occasion we managed to talk her into going with us, and I'll never forget how much fun it was seeing her lose herself in the movie. She was smiling, laughing, and in general acting just like one of us. My mother loved musicals (one of my sisters is named after June Allyson) and if you could have seen her that day you'd have sworn she'd transformed into a teenager right before your eyes. At one point during the "Consider Yourself" number I thought someone had kicked my seat, only to soon realize that the entire row was moving due to my mom bouncing in her seat and tapping along with the rhythm! One of my happiest memories of that day is the picture I have of my hardworking mother—seen out of the corner of my eye—softly singing along with the music, looking like the happiest little girl in the world.
Sadly, my mom passed away just last year this month, and in knowing that Oliver! was one of her favorite movies, I guess I can't help but associate it with very happy memories.
Childhood ain't what it used to be.
You can read about the sad circumstances of the late Jack Wild's adult life online. Take a look at this interview from 2002 (he passed away in 2006) in which he talks about his career and Oliver! YouTube
Listen to Jack Wild sing "Pronouns" from the H.R. Pufnstuf and other Sid & Marty Krofft Favorites CD
Mark Lester kept a pretty low-profile in his post-Oliver! days (he's an osteopath now) only to emerge from obscurity in 2013 alleging to be the sperm-donor father of Michael Jackson's kids (!!!) HERE
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