Oliver! (1968)

Remarkable musical adapted from the stage show adapted from the Dickens novel. 

Mark Lester plays Oliver Twist, an orphan expelled from a workhouse who falls in with a London group of pickpocket urchins working for the complicated, enigmatic Fagin (Ron Moody). But Bill Sikes (Oliver Reed) threatens the safety of their little society with increasingly violent criminal behaviour.

Lester is an odd choice for the main part. He has a girlish voice and little star quality, but somehow he works because of the way the events of the story revolve around him. Far more impressive is Jack Wild as the charismatic Artful Dodger. And Shani Wallis is perfect as the conflicted Nancy, caught between loving Sikes despite everything and wanting to do what's right for Oliver.

The real star of the film is the music. The songs, by Lionel Bart, are distinctive and memorable, and I was amazed how many of them I already knew simply because of their place in popular culture.

It's also good to see Leonard Rossiter as Mr. Sowerberry, even though he has minimal on-screen time.

Gladiator (2000)

This Ridley Scott-directed modern classic set in AD 180 seemed even better second time around. It looked more impressive at the cinema in 2000, but it moved me more deeply on DVD today in 2018. Russell Crowe is hugely charismatic as Maximus. He never lets you down, does he? Joaquin Phoenix is creepily compelling as the insecure, self-pitying Commodus (although, having seen I Walk the Line, I had to not think of him as Johnny Cash). In a less imaginative script this villain could have been a cardboard-cut-out baddie, but Gladiator is sophisticated enough that Commodus is sympathetic as well as repulsive. Connie Nielsen is excellent as the sister who Commodus wants an incestuous relationship with. The all-star cast also features Oliver Reed (shortly before his death), Richard Harris and Derek Jacobi.

I like the way it starts out as one kind of film (the story of a Roman general), then detours into the saga of a slave-turned-gladiator-turned-superstar-folk-hero, before somehow coming full circle as Maximus attempts to save Rome. To its credit, the film doesn’t take the obvious paths. The story seems to be pointing to one kind of resolution and surprises you more than once before the ending.

As a piece of riveting drama it’s pretty much unbeatable. Even though it’s long, I found it almost ridiculously exciting. There’s little you could change to improve it: stunning visuals, stirring music, an epic sweep, a nail-biting plot escalation and an emotional climax.