The poorer parts, however, look like one of Franz Kafka's nightmares, with the East End skyline made up of buildings which lean and reach in strange directions. The more affluent parts of London, such as Oliver's eventual home, are rendered naturalistically with fine period details such as chess boards, book cases and marble columns. The visuals of Oliver Twist are an intriguing mix of naturalism and expressionism. The very first shot, of Oliver's mother stumbling down the long desolate road, has the same cruel, intimidating atmosphere that characterised its predecessor. But more than that, the opening of Oliver Twist is a very conscious attempt on Lean's part to recapture that success. Ronald Neame returns as producer, having worked with Lean previously on Brief Encounter, as does cinematographer Guy Green following his Oscar win for Great Expectations. Having already enjoyed success with Great Expectations, it makes sense that Lean retained much of the same cast and crew for this adaptation. 65 years on, his version of Oliver Twist remains both interesting and impressive, particularly in its narrative and visual decisions. Carol Reed's Oscar-winning musical features in this happy few, as do several versions of A Christmas Carol, but perhaps no director has come closer to making Dickens cinematic than David Lean. This means that while there are many fine TV adaptations of Dickens (including the brilliant version of Bleak House from 2005), there are very few big-screen Dickens adaptations that can truly be considered cinematic. He paints a vivid introductory picture of a character, including the elaborately grotesque name, and then introduces other aspects in small episodes or bites of information until the story has run its course. Throughout his novels Dickens tells his stories like a journalist, having a great eye for human behaviour and social injustice. Having cut his teeth as a journalist and shorthand writer, he carried over this approach into his works of fiction, which was itself consolidated by their serialisation in newspapers.

Charles Dickens as a storyteller is inherently episodic.

Oliver twist