Ebert, Roger (22 December 1968). "Oliver! Movie Review & Film Summary". Chicago Sun-Times . Retrieved 14 October 2013– via RogerEbert.com.

A pair of slipshod feet shuffled, hastily, across the bare floor of the room, as this interrogatory was put; and there issued, from a door on the right hand; first, a feeble candle: and next, the form of the same individual who has been heretofore described as labouring under the infirmity of speaking through his nose, and officiating as waiter at the public-house on Saffron Hill.a b c Chapman, J. (2022). The Money Behind the Screen: A History of British Film Finance, 1945-1985. Edinburgh University Press p 354. Income is in terms of producer's share of receipts. Perhaps I am," replied Sikes; "I should think (r)you� was rather out of sorts too, unless you mean as little harm when you throw pewter pots about, as you do when you blab and-" What's become of the boy?" said the Jew, seizing the Dodger tightly by the collar, and threatening him with horrid imprecations. "Speak out, or I'll throttle you!"

And here he remained in such terror as none but he can know, trembling in every limb, and the cold sweat starting from every pore, when suddenly there arose upon the night-wind the noise of distant shouting, and the roar of voices mingled in alarm and wonder. Any sound of men in that lonely place, even though it conveyed a real cause of alarm, was something to him. He regained his strength and energy at the prospect of personal danger; and springing to his feet, rushed into the open air. Although critically acclaimed, Alec Guinness's portrayal of Fagin and his make-up was considered antisemitic by some as it was felt to perpetuate Jewish racial stereotypes. [3] Guinness wore heavy make-up, including a large prosthetic nose, to make him look like the character as he appeared in George Cruikshank's illustrations in the first edition of the novel. At the start of production, the Production Code Administration had advised David Lean to "bear in mind the advisability of omitting from the portrayal of Fagin any elements or inference that would be offensive to any specific racial group or religion." [4] Leach, Edmund. 1966. Anthropological Aspects of Language: Animal Categories and Verbal Abuse. In New Directions in the Study of Language, ed. E. H. Lenneberg, 26–63. Cambridge MA: MIT Press. Von Uexküll, Jakob. 2010. A Foray into the Worlds of Animals and Humans, With a Theory of Meaning., trans. Joseph D. O’Neil. Minneapolis: University of Minnesota Press. In various adaptations of Oliver Twist, Bullseye’s breed representation has evolved. While early adaptations depicted him as a bull terrier, some modern interpretations have portrayed him as a different breed altogether. These changes reflect the evolving preferences and perceptions of dog breeds in popular culture and further emphasize the malleability and adaptability of Bullseye’s character. Conclusion: Bullseye’s Breed and its Significance in Oliver Twist

Oliver Twist | Introduction & Summary". Encyclopedia Britannica. Archived from the original on 22 August 2019 . Retrieved 4 April 2018. Oliver Twist, a 13-episode BBC serial directed by Eric Tayler, starring Max Adrian as Fagin, Willoughby Goddard as Mr Bumble and Peter Vaughan as Bill Sikes. [40] And I'm afraid, you see," added the Jew, speaking as if he had not noticed the interruption; and regarding the other closely as he did so,- "I'm afraid that, if the game was up with us, it might be up with a good many more, and that it would come out rather worse for you than it would for me, my dear."

Bullseye made his debut in Target’s iconic 1999 advertising campaign “Sign of the Times,” which featured a white English bull terrier with the Target logo over his left eye, set to a reworked version of the 1960s Petula Clark pop tune “A Sign of the Times.” The campaign proved to be a hit—and guests and team members …

Coming,’ growled the guard. ‘Ah, and so’s the young ‘ooman of property that’s going to take a fancy to me, but I don’t know when. Here, give hold. All ri—ight!’ Commencing in the US in 1998, Oliver! has been released worldwide on DVD by Columbia Tristar Home Entertainment and its successor Sony Pictures Home Entertainment. The US DVD has the film, complete with its original overture and entr'acte music, spread across two sides of a double-sided disc, separated at the intermission. Everywhere else, it was issued on a single-sided disc. [24] Lean commissioned the make-up artist Stuart Freeborn to create Fagin's features; Freeborn had suggested to David Lean that Fagin's exaggerated profile should be toned down for fear of causing offence, but Lean rejected this idea. In a screen test featuring Guinness in toned-down make-up, Fagin was said to resemble Jesus Christ. [5] On this basis, Lean decided to continue filming with a faithful reproduction of Cruikshank's Fagin, pointing out that Fagin was not explicitly identified as Jewish in the screenplay. [6] The man got no further, for Sikes with a hideous imprecation overthrew the table, and tearing the hat from him, burst out of the house.

He's the most precise, the most particular... but it's all for you. He had an outburst one day - (laughs) his morning outburst! - when the crew started to move things about between takes. And he went ballistic: "No one ******* sees you! They see these two men, so give them respect." Ben and I just looked at each other and started to get all choked. When have you had that? He keeps the focus of everything that's up there at the end of the day. When you're getting that support and love behind you... It sounds very clichéd, but you do feel it. I've worked on enough things to know the difference.Sikes was played by Danny Sewell in both the original West End and Broadway productions of the stage musical Oliver! which won several awards in the early 1960s. Oliver Reed played Sikes in the musical's 1968 film adaptation which also won several awards, including the Oscar for Best Picture, with Reed's performance often cited as one of the best portrayals of Sikes – being labelled as "the sinister core of the film". His songs are removed from the film, making his performance of the character closer to that of the novel rather than the stage version. The famous climax of the 1948 film adaptation is retained and Sikes dies in the same manner of being shot and his body dangling from the rope about his body. Sikes was played by Graeme Campbell in the 1984 Broadway revival, Miles Anderson (later Steven Hartley) in the 1994 London revival, Burn Gorman (later Steven Hartley again) in the 2009 London revival and by Tam Mutu in the 2023 Encores! revival. What are you up to? Ill-treating the boys, you covetous, avaricious, in-sa-ti-a-ble old fence?" said the man, seating himself deliberately. "I wonder they don't murder you! I would if I was them. If I'd been your 'prentice, I'd have done it long ago, and- no, I couldn't have sold you afterwards, for you're fit for nothing but keeping as a curiosity of ugliness in a glass bottle, and I suppose they don't blow glass bottles large enough." He’s the one dog you can call an egghead and get away with it! Not only is he proud of his distinctive profile, but he’s such a good-natured bloke he’d let it slide anyway. When it comes to bully breeds, the Bull Terrier is, well, no bully. There was a shed in a field he passed, that offered shelter for the night. Before the door, were three tall poplar trees, which made it very dark within; and the wind moaned through them with a dismal wail. He could not walk on, till daylight came again; and here he stretched himself close to the wall—to undergo new torture.