Oliver Twist

Rating:
Summary: Lon Chaney is on the cover but this is Jackie Coogan's film
Review: It is certainly interesting to consider that this 1920 version of "Oliver Twist," the classic novel by Charles Dickens, was intended as a vehicle for Jackie Coogan. Of course, today they put Lon Chaney on the box to pique our interest, but while his Fagin is a commanding presence in the film, he does not pop up until halfway through. Coogan later told the story of how he was first introduced to Chaney in full make-up on the set and was immediately terrified. We have heard about the magic Chaney could do with spirit gum and greasepaint, but notice how impressive his FINGERNAILS are in this film. Having worked with Chaplin in "The Kid," Coogan certainly recognized Chaney's star quality. Coogan's performance is certainly stronger than it was in "The Kid," and you have to appreciate the way he underplays the part, something you would associate with neither kid actors nor silent film stars. George Siegmann makes a memorably monstrous Bill Sikes, Gladys Brockwell is Nancy, and Edouard Trebaol plays the Artful Dodger. Scottish born director Frank Lloyd is usually not recognized as one of the greats of the silent era, but he did make over 100 films and won three Oscars ("The Divine Lady," "Cavalcade," and "Mutiny on the Bounty"). More importantly, he had a love for Dickens that comes through in this film. I amazed at the fact this is only a 74 minutes film; clearly a lot is cut out, but it captures the spirit of Dickens. This was the fourth silent version of the Dickens tale and actually was not topped until the 1948 film with John Howard Davies as Oliver and Alec Guiness as Fagin. Of course, in 1968 the musical version won the Oscar for best picture.

Rating:
Summary: Lon Chaney is on the cover but this is Jackie Coogan's film
Review: It is certainly interesting to consider that this 1920 version of "Oliver Twist," the classic novel by Charles Dickens, was intended as a vehicle for Jackie Coogan. Of course, today they put Lon Chaney on the box to pique our interest, but while his Fagin is a commanding presence in the film, he does not pop up until halfway through. Coogan later told the story of how he was first introduced to Chaney in full make-up on the set and was immediately terrified. We have heard about the magic Chaney could do with spirit gum and greasepaint, but notice how impressive his FINGERNAILS are in this film. Having worked with Chaplin in "The Kid," Coogan certainly recognized Chaney's star quality. Coogan's performance is certainly stronger than it was in "The Kid," and you have to appreciate the way he underplays the part, something you would associate with neither kid actors nor silent film stars. George Siegmann makes a memorably monstrous Bill Sikes, Gladys Brockwell is Nancy, and Edouard Trebaol plays the Artful Dodger. Scottish born director Frank Lloyd is usually not recognized as one of the greats of the silent era, but he did make over 100 films and won three Oscars ("The Divine Lady," "Cavalcade," and "Mutiny on the Bounty"). More importantly, he had a love for Dickens that comes through in this film. I amazed at the fact this is only a 74 minutes film; clearly a lot is cut out, but it captures the spirit of Dickens. This was the fourth silent version of the Dickens tale and actually was not topped until the 1948 film with John Howard Davies as Oliver and Alec Guiness as Fagin. Of course, in 1968 the musical version won the Oscar for best picture.

Rating:
Summary: Oliver Twist
Review: They sure get some adorable kids to play Oliver Twist. "Despised by all and pitied by none." Hooey. In 1922 Jackie Coogan owned Hollywood, and the hearts of Americans all over the world.
Well, the Kid could act, and don't let the cover art or p.r. department fool you. This is Coogan's movie, and Lon Chaney is definitely a secondary character. This 1922 silent movie is well done, and doesn't feel much more dated than the story it tells. Lon Chaney, who must have been wearing some (probably terribly uncomfortable) contraption plays Fagin as a bent, wizened, sharp-nosed wheedler.
I enjoyed LIGHT OF FAITH, the 32-minute add-on movie, more than OLIVER TWIST. Chaney stars in this one, sans cumbersome make-up, playing a street tough who falls for a young woman who moves into his tenement building. The woman, as they were wont to do back then, is failing from a broken heart. The distant object of her affection found the Grail Tennyson wrote of in his Arthurian tales. The Grail, she tells the impressionable Chaney, glows with an inner light and has remarkable curative powers.
So, the girl's dangerously declining, her old beau has the Grail, and Chaney has a larcenous inspiration. Director Clarence Brown delicately handles the material, and Chaney gives a subtle and nuanced performance.


Rating:
Summary: Great silent adaptation of Dickens' classic
Review: This version of "Oliver Twist" is a scant 74 minutes long, but contains much more of the book (including a portion of the Rose Maylie sequence) and retains a highly Dickensian flavor when viewed alongside other adaptations.

If you are new to silent films, this could be a good one to whet your appetite. If you are already a fan, give this one a try. The film is primarily a vehicle for Jackie Coogan, which proves to be just fine, as he is delightful in the title role. His expressive face and tiny stature are dead-right for Oliver, and he has more spunk than most exponents of the role, which helps to allay the saccharine nature of the character.

Fans of Lon Chaney may be disappointed with the little screen time he is given, but he makes the most of it. Subtle touches Chaney adds (such as gently laying a hand on Bill Sikes' chest) give a wealth of subtext and nuance to his performance, and adds immeasurably to our understanding of Fagin as petty thief.

The rest of the cast is good, with a fine performance from Gladys Brockwell as Nancy. She is another aspect of the film which rings true to Dickens: she is less the "hooker with a heart of gold" than a complex, hardened woman who has grown up among criminals yet retains her conscience.

Mention must also be made of the fine production design. Many scenes look as though they were lifted from the original Cruikshank illustrations (especially the meeting at London Bridge) and the men look particularly appropriate for the period. Some of the women retain the '20s look in makeup and hair, which is typical of Hollywood period movies through the 1970's.

The title cards also are well-done, either quoting directly from Dickens or retaining his authorial flavor.

All told, this is a winning adaptation of a perennial favorite.

Rating:
Summary: Great silent adaptation of Dickens' classic
Review: This version of "Oliver Twist" is a scant 74 minutes long, but contains much more of the book (including a portion of the Rose Maylie sequence) and retains a highly Dickensian flavor when viewed alongside other adaptations.

If you are new to silent films, this could be a good one to whet your appetite. If you are already a fan, give this one a try. The film is primarily a vehicle for Jackie Coogan, which proves to be just fine, as he is delightful in the title role. His expressive face and tiny stature are dead-right for Oliver, and he has more spunk than most exponents of the role, which helps to allay the saccharine nature of the character.

Fans of Lon Chaney may be disappointed with the little screen time he is given, but he makes the most of it. Subtle touches Chaney adds (such as gently laying a hand on Bill Sikes' chest) give a wealth of subtext and nuance to his performance, and adds immeasurably to our understanding of Fagin as petty thief.

The rest of the cast is good, with a fine performance from Gladys Brockwell as Nancy. She is another aspect of the film which rings true to Dickens: she is less the "hooker with a heart of gold" than a complex, hardened woman who has grown up among criminals yet retains her conscience.

Mention must also be made of the fine production design. Many scenes look as though they were lifted from the original Cruikshank illustrations (especially the meeting at London Bridge) and the men look particularly appropriate for the period. Some of the women retain the '20s look in makeup and hair, which is typical of Hollywood period movies through the 1970's.

The title cards also are well-done, either quoting directly from Dickens or retaining his authorial flavor.

All told, this is a winning adaptation of a perennial favorite.