When you are oppressed to the point of being unbearable, running away is a good choice. Anyway, if you have nothing, why not be more dashing, maybe only in this situation, can you do things that you usually don't dare to do or worry about doing, there's nothing you can't let go of, in fact, it's almost the same. In the days when the carriage was the equivalent of the space shuttle today, walking seventy miles seemed like an impossible task for a ten-year-old with nothing to eat. What can be done later, at least with courage, is nothing more than wearing a pair of shoes and fainting again.
The music at the beginning is very moving, very classical British style. There are also those men and women in the 18th century, who tend to be more representational, and their lines are still classic, typical London accents, because of their big noses. The fog in Poland is quite thick, and the bad people here are not completely that bad, just like many recognized good people in reality are not that good. It's too bad or too good to watch. It's always a hard choice between last resort, and it becomes very fast.
Overall, I think the first half is better than the latter, and the second half becomes a story with a big tail. The bad guy should be executed and the protagonist put on the clothes of the upper class. But I have to drag it for a while, and then mix in a dog. Is the remuneration of the dog lower than that of the actor? The ending should be simple, close quickly, gently, and let the aftertaste flow into the music at the end. I didn't read it very seriously, just wrote it casually.
View more about Oliver Twist reviews
