The latest PBS adaptation of Charles Dickens’s classic novel Oliver Twist demonstrates the urgent need for reform of the taxpayer-supported broadcasting service–or an end to taxpayer funding for it.
The temptation to “improve” on classic works of culture seems all but irresistible, especially to the political radicals and social transformers who infest public broadcasting organizations in the United States and Europe. The Corporation for Public Broadcasting has long been known as a very aggressive practitioner of efforts at political and social transformation through its partially taxpayer-funded Public Broadcasting System (PBS) for television and its National Public Radio (NPR) network.
Of course, supporters of public broadcasting dismiss the claims of political bias, despite the abundance of evidence. Certainly the networks produce some good things that don’t seem to have as strong a transformative agenda, but on the whole the bias is strong. And the programming providers continue on their merry way, bolstered by taxpayer dollars.
For example, as the PBS series Masterpiece Classic (formerly Masterpiece Theater, one of the good things the network has done over the years) begins a new presentation this week–an adaptation of Charles Dickens’s classic novel Little Dorrit, viewers may well hope that the producers will be somewhat more faithful to the things that have kept people reading the book over the past century and a half, and not “improve” it as they did with their recent two-part presentation of Dickens’s Oliver Twist.
Unlike the network’s superb 2005 adaptation of Dickens’s Bleak House, the producers of the Oliver Twist adaptation (in concert with the UK-government-controlled British Broadcasting Corporation) have decided to update the classic novel to conform to current political shibboleths.
The visual presentation is quite effective, wisely following the lead of the Bleak House adaptation (and the 2005 theatrical film version of Pride and Prejudice and Roman Polanski’s 2005 film version of Oliver Twist) in employing a gritty, cluttered look that vividly evokes the brilliant liveliness of Dickens’s novels. In the Masterpiece Classics version of Oliver Twist the dirty streets of lower-class London are striking, crime ring leader Fagin’s wretched den of thieves is awful in its squalor, and the home of Oliver’s wealthy would-be benefactors is a refreshing contrast while looking plausibly lived-in.
The story and characterizations, unfortunately, don’t match the faithful and evocative visuals. One of the first and most jarring notes is the appearance of actress Sophie Okonedo as Nancy, Oliver’s protector in Fagin’s den of thieves. Okonedo was born of a Jewish mother and black father and looks very African in descent.
Now, it’s just plausible that Twist‘s villain, the violent and vulgar Bill Sykes, would have an African-English girlfriend, but there’s not a hint of that in Dickens’s novel. Clearly the producers are imposing an ideal of a colorblind society on a story where it adds nothing, is unnecessary, and is quite a distraction for those who know the original novel. The character, however, is as complex and benevolent as in the original story, which is all to the good.
Thus, while being somewhat distracting, the transformation of Nancy into a black woman does no major damage to the story. Other changes, however, do, and some are really contemptible, all pushing in the same direction.
Among the less offensive changes are the transformation of wealthy benefactor Rose into a Victorian female version of Sam Spade, aided by her housekeeper, Mrs. Bedwin, in forays into the mean streets of London in search of Oliver. Clearly this is an attempt by the producers to create another heroic female figure in the story, and the presentation of Mr. Brownlow, another benefactor, as impatient and too willing to believe Oliver a thief makes the point that much more obvious: Men bad, women good.
Fagin, brilliantly portrayed by Timothy Spall, is a very obviously bad sort, although the producers seem intent on suggesting that what has driven him to crime is anti-Semitism, more than any choice of his own. They do, however, largely present him in his full, evil selfishness, lest the viewer fail to recognize the immense, consistent horribleness of the male sex.
The worst of the lot, of course, is Bill Sykes, brilliantly portrayed by Tom Hardy (Band of Brothers). His Sykes is a good deal less powerful and formidable than the character embodied by Oliver Reed’s excellent performance in the theatrical musical film version, Oliver!, but he’s a thoroughly rotten villain, as in the original novel.
Even here, though, the producers introduce elements that water down the power of the original story. The characterization of Sykes continually introduces a strong element of anxiety in the character, suggesting a more modern point of view in which, as with Fagin, people are driven to crime by poverty. This reaches a ridiculous peak when Sykes deliberately hangs himself in one of the film’s climactic moments.
In the Dickens original, of course, Sykes is accidentally hanged, not a deliberate suicide. Making his end a suicide destroys the original story’s presentation of a sense of cosmic justice, replacing it with a bathetic stab at evoking a measure of sympathy for a human devil.
Most revolting of all, however, is the producers’ addition of a new element to Fagin’s trial near the end of the story. In the original novel, Fagin is tried for his crimes and sentenced to death. It’s clearly the only sensible resolution to Fagin’s story, and even if we feel some sympathy for him and recognize that the conditions of his life have been far from ideal, it’s clear that his activities have earned him the rope according to the laws of the time.
The producers, however, are intent on blaming society for Fagin’s crimes, and they make this repugnant premise explicit in the trial scene. The judge looks at Fagin and asks him if he would like to obtain mercy. Fagin naturally says yes. The judge then tells Fagin to get down on his knees and ask Jesus Christ for mercy and acknowledge Christ as savior of mankind.
I should hope it needless to say that this is both historically absurd and an entirely false addition to Dickens’s story, and one which thoroughly undermines the author’s intelligent and nuanced view of social conditions and personal responsibility. Dickens was a powerful advocate of social reform while never denying that people should and indeed must be held responsible for their choices.
Thus the producers cap the adaptation with a slam against Christianity and a presentation of the standard leftist line that Christians are eager to impose their religious beliefs by force. This takes the adaptation explicitly away from everything Dickens’s novel was about and transforms it into a dreary purveyor of modern-day political shibboleths.
Unlike commercial television and radio, public broadcasting is notoriously insensitive to the needs of audiences beyond the upper-middle- and upper-class liberals whose political and economic power controls their purse strings. As this recent travesty of Oliver Twist vividly demonstrates, it’s high time the taxpayers rose up and made public television more responsive to the public and less able to indulge in a long-term scheme of political and social transformation.
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