Oliver!

I love old movies. The older the better. I also prefer to own, rather than to stream. Yes, the sound quality, and the picture quality, can be poor as compared to current standards, but if you know about the history of the equipment used to create the film; the fragile type of the film itself; the condition in which they were likely stored; and the quality of speakers and recording equipment which were used at the time; then you will not be bothered by the poor sound/picture quality at all. You will simply feel that the poor sound quality is a normal part of the viewing experience.It is completely unfair to judge an antique by modern standards. Instead, focus on the story, the filming techniques, the costumes, the furnishings, the architecture, the dialog, and the historical social significance of the film.It is also completely unfair to judge the past by present values. Are there offensive bits in old films which would never be tolerated today? Most probably, but why be offended when you can just as easily choose to understand how far we have come? In some respects we have come far, socially. In other respects, we have seriously digressed. I also like to see the contrast in the ways society has devolved as compared to the time in which they made these old films. Why bother watching historical films, if you don’t learn from them?PROS:Condition as expected. I enjoyed it.CONS:As in most antique media: Contents are sometimes in random order. Often menus don’t work. Usually you have to resize the aspect at which they are played. I consider these all to be a “normal” part of the experience.COMPS:As compared to modern films, adjust your level of expectation. When you approach them in this way, you will not be disappointed.VERDICT:Met or exceeded my expectations. Good/great value for money.I hope you found this information helpful. Have a great day! ~Savvy Shopper

Very enjoyable musical. Saw it in the theater when it first came out with my Father. Brought back a lovely memory.

A nostalgic gift for my 12 yr old daughter, that ended up being a gift for all of us. We'd forgotten how many wonderful songs are packed therein.Film quality is good for the period, and I'm glad it hasn't been modified (recolored or digitally altered).Am so glad the next generation of our family can enjoy Oliver!

The music is haunting and delightful. Fagan is played with great artistry. And how can you go wrong with a Dickens story?

Good movie

Not all films stand the test of time, but those that do... become classics - well, many. And some of the ‘older’ films are amazing to visit time and again - like old friends you enjoy spending time with. Oliver, the 1968 classic, based on the Charles Dickens novel, is among the best. It’s not just a great film, but as a musical, stands among an elite group. With a stellar cast of theatre and film great, this film is like going home for me... I first (and many times) watched it with my dad, so for me, it is going home.Among the amazing actors and voices are Ron Moody as Fagin, Shani Wallis as Nancy, Harry Secombe as Bumble, Mark Lester as Oliver, and two of the best, Oliver Reed as Bill Sikes and Jack Wild as The Artful Dodger. As amazing group fo talent that bring to life a story of love, family, and home... I was thrilled when Amazon had a great deal on streaming and so grabbed it (I have it on DVD, but streaming is so easy I can now watch it whenever). Oliver is a wonderful story, lots of meaning, and lots of love... not to mention outstanding song and dance numbers that are not only memorable, but are the reason so many of us love musical theatre.

One of my favorite musicals of all times. You feel the dark side of London during the industrial age. This is the really good film done in the 70's.

well done.....2 sided dvd interesting....

Die Jahre 1968 bis 1970 markieren einen gewissen Wendepunkt in der Oscargeschichte. Während bei der Oscarwahl 1969 das opulente Musical "Oliver" von Carol Reed zum großen Sieger erklärt wurde, ging der innovative Konkurrent "2001 - Odyssee im Weltraum" mit nur einer Trophäe für die besten visuellen Effekte nach Hause. Er wurde damals auch nicht in der Kategorie "bester Film" berücksichtigt. Der Oscar brauchte eine Verjüngungskur, denn die Academy versuchte damals althergebrachte Erfolgsmuster weiter am Leben zu erhalten. Die 60er Jahre brachte alleine in der Kategorie "Bester Film" vier Musicals als Sieger hervor: West Side Story, My Fair Lady, The Sound of Music und Oliver. Die Oscarnacht 1970 brachte dann eine Überraschung zustande: "Hello Dolly" mit Topstar Barbra Streisand wurde in dieser wichtigsten Kategorie von einem sehr düsteren Film geschlagen, denn John Schlesingers "Asphalt Cowboy" gewann diesen Hauptpreis. Und "Easy Rider " ein Film der 68er Generation erhielt immerhin 2 Nominierungen."Oliver" brachte dem britischen Regisseur Carol Reed ein echtes Comeback, denn seine größten Erfolge wie "Ausgestoßen" und vor allem "Der dritte Mann" lagen schon lange Jahre zurück. "Oliver" basiert auf dem gleichnamigen Bühnenmusical von Lionel Bart, ein Adaption des berühmten Romans "Oliver Twist" von Charles Dickens. Dieser düstere Roman über ein Waisenkind, das im Armenhaus groß wird wurde mehrfach verfilmt. Die Versionen von David Lean aus dem Jahr 1948 und von Roman Polanski aus 2007 sind nahezu perfekt. Bei Reeds Muscialversion muss man sich vielleicht daran gewöhnen, dass viele Szenen gesanglich und tänzerisch sind. Dennoch ist Carol Reed ein bezaubernder Film gelungen mit sehr vielen klasse Szenen und genauso guten Darstellerleistungen. Gute Kasse machte das Musical auch und landete mit 74 Millionen Dollar auf Platz 5 der Kino-Jahrescharts.In einem Arbeitshaus in Dunstable wird den Waisenkindern der tägliche Haferbrei serviert. Eine Gruppe von Jungen ziehen Lose, wobei der kleine Oliver (Mark Lester) als einziger den verhedderten Strohhalm zieht. Dies zwingt ihn dazu aufzustehen und Mr. Bumble (Harry Secombe) und der Witwe Corney (Peggy Mount) um ein weiteres Tellerchen Brei zu bitten. "Ich will noch mehr, bitte Sir" wird aber als solche Frechheit angesehen, dass der Junge verkauft werden soll. Mr. Sowerberry (Leonard Rossiter) kauft den Jungen, weil er ihn besonders für Kinderbeerdigungen als Bestatter brauchen könnte. Sowerberrys etwas älterer Lehrling Noah Claypole (Kenneth Granham) schikaniert den Neuling wo er nur kann. Als er Olivers Mutter, die bei der Geburt starb, aufs übelste beledigt, kommt es zum Rinkampf der Beiden und anschließend wird Oliver in den Keller gesperrt. Er kann fliehen und versucht in London ein neues Leben zu beginnen. Dort trifft er auf den Artful Dodger (Jack Wild), der ihn sofort unter seine Fittiche nimmt und ihm auch ein Quartier zum Schlafen anbietet. Das befindet sich bei Fagin (Ron Moodey), Der jüdische Hehler verköstigt Oliver und Fagin hat eine ganze Meute von elternlosen Jungs bei sich beherbergt. Alle diese Jungs wurden von ihm zu versierten Taschendieben ausgebildet. Artful Dodger ist der Beste von Ihnen. Noch ehe Oliver die Kunst des Stehlens erlernen kann, wird er bei der Diebestour - ohne Dieb zu sein - fälschlicherweise dafür gehalten und verfolgt, er kommt ins Gefängnis. Doch als das Opfer Mr. Brownlow (Joseph O'Connor) sich sicher ist, dass der Junge nicht der Dieb war, nimmt er ihn bei sich auf. Eine Wendung, die sowohl Fagin noch dem äusserst brutalen Eigenbrötler Bill Sykes (Oliver Reed), mit dem Fagin Geschäfte macht und dessen Freundin Nancy (Shani Wallis) Sorgen bereitet. Denn der Junge könnte der Polizei zuviel von den kriminellen Machenschaften erzählen, das Versteck der Diebesbande ausplaudern, so dass Fagin und Sykes am Galgen enden. Bald schmiedet Sykes einen Plan, wie er den unliebsamen Mitwisser aus dem Wege räumen kann...Am Ende ist es Sykes Hund Bully, der die aufgebrachte Menge zu seinem Versteck führt. Anders als im Roman kommt der Gauner Fagin in der Musical Version mit dem Leben davon und endet nicht am Galgen. Gemeinsam mit Artul Dodger tanzen sie durch eine Gasse im nächtlichen London, bereit für einen neuen Anfang und damit auch für weitere Schandtaten. Der Kinderdarsteller Jack Wild liefert eine überzeugende Darstellung, für die der damals 15jährige Junge eine Oscarnominierung bekam. Auch Ron Moodey als Fagin wurde in der Kategorie "bester Hauptdarsteller" berücksichtigt, unterlag jedoch Cliff Robertsons Leistung in "Charly".Neben der Auszeichnung als bester Film gab es weitere Oscars für die grandiose Ausstattung, die Choreographieleistung von Onna White wurde mit einem weiteren Oscar bedacht. John Greens Musik gewann in seiner Kategorie, das Shepperton studio Sound Department durfte den Preis für den besten Ton entgegennehmen So auch der Regisseur selbst. Das British Film Institute, die Reeds Meisterwerk "Der dritte Mann" zum besten britischen Film aller Zeiten wählten, erkannten auch die Qualität seines Musicals und setzten "Oliver" in der gleichen Umfrage der All Time Top 100 auf Platz 77.

OLIVER! [1968] [Blu-ray + ULTRAVIOLET] OLIVER! is Much, Much, Much, More Than A Musical!Experience the high-spirited adventure of Oliver twist in this OSCAR® winning musical adaption of Charles Dickens’ classic tale! Young Oliver [Mark Lester] is an orphan who escapes the cheerless life of the workhouse and takes to the streets of 19th-Century London. He’s immediately taken in by a band of street urchins, headed by the loveable villain Fagin [Ron Moody], his fiendish henchman, Bill Sykes [Oliver Reed], and his loyal apprentice, the Artful Doger [Jack Wild]. Through his education in the fine points of pick-pocketing, Oliver makes away with and unexpected treasure . . . a home and a family of his own. Set to heartfelt score that includes such favourites as “Consider Yourself,” “Where Is Love” and “As Long As He Needs Me.” OLIVER! leads us on a journey in search of love, belonging and honour among thieves. OLIVER! will steal your heart!FILM FACT: Awards and Nominations: 1969 41st Academy Awards®: Won: Best Picture for Producer John Woolf. Won: Best Director for Carol Reed. Won: Best Musical Adaptation Score for John Green. Won: Best Art Direction for Set Decoration for John Box, Terence Marsh. Won: Best Sound for Buster Ambler, John Cox, Jim Groom, Bob Jones and Tony Dawe. Won: Honorary Academy Award for Onna White "for her brilliant achievements in the art of choreography on film for Oliver!" Nominated: Nominated: Best Actor in a Leading Role for Ron Moody. Nominated: Best Actor in a Supporting Role for Jack Wild. Nominated: Best Writing for Adapted Screenplay for Vernon Harris. Nominated: Best Cinematography for Oswald Morris. Nominated: Best Costume Design for Phyllis Dalton. Nominated: Best Film Editing for Ralph Kemplen. 1968 Golden Globe® Awards: Won: Best Motion Picture for a Musical or Comedy. Won: Best Actor for Motion Picture Musical or Comedy for Ron Moody. Nominated: Best Director for Carol Reed. Nominated: Best Supporting Actor for Hugh Griffith. Nominated: New Star of the Year for an Actor for Jack Wild.Cast: Ron Moody, Shani Wallis, Oliver Reed, Harry Secombe, Mark Lester (songs dubbed by Kathe Green), Jack Wild, Hugh Griffith, Joseph O'Conor, Peggy Mount, Leonard Rossiter, Hylda Baker, Kenneth Cranham, Megs Jenkins, Sheila White, Wensley Pithey, James Hayter, Elizabeth Knight, Fred Emney, Norman Mitchell, John Baskcomb, Frank Crawshaw, Peter Hoare, Arnold Locke, Norman Pitt, Keith Roberts, Bullseye (the dog), Fagin’s Boys: Robert Bartlett, Graham Buttrose, Geoffrey Chandler, Kirk Clugston, Dempsey Cook, Christopher Duff, Nigel Grice, Ronnie Johnson, Nigel Kingsley, Robert Langley, Brian Lloyd, Peter Lock, Clive Moss, Ian Ramsey, Peter Renn, Billy Smith, Kim Smith, Freddie Stead, Raymond Ward, John Watters, John Baskcomb (uncredited), Frank Crawshaw (uncredited), Peter Hoare (uncredited), Arnold Locke (uncredited), Ruben Martin (uncredited), Jayne Peach (uncredited), Norman Pitt (uncredited), Keith Roberts (uncredited) and Vernon White (uncredited)Director: Carol ReedProducer: John WoolfScreenplay: Vernon Harris, Lionel Bart (book) and Charles Dickens (freely adapted from "Oliver Twist")Composer: Lionel Bart, Eric Rogers, Johnny Green (uncredited) and Onna WhiteCostume Design: Phyllis DaltonCinematography: Oswald MorrisVideo Resolution: 1080pAspect Ratio: 2.35:1Audio: English: 5.1 DTS-HD Master Audio, French: Mono, German: German: 5.1 DTS-HD, Italian: 5.1 DTS-HD, Spanish: Castilian Dolby Surround and Spanish: Latin American Dolby SurroundSubtitles: English, English SDH, Arabic, Danish, Nederland, Finnish, French, German, Greek, Hebrew, Hindi, Hungarian, Italian, Japanese, Norwegian, Polish, Portuguese, Spanish [Castilian] and SwedishRunning Time: 144 minutesRegion: All RegionsNumber of discs: 1Studio: Sony Pictures Home EntertainmentAndrew’s Blu-ray Review: Strangely, during the turbulent and rebellious 1960s, when civil rights protests, political and social unrest, and anti-establishment views pervaded our culture, the innocuous movie musical dominated the Academy Awards, winning Best Picture a whopping four times over the course of the decade. Even more incredible, that's just one award shy of the total number of top honours the musical received in the preceding 33 years of OSCAR® history. 'West Side Story' [1961], 'My Fair Lady' [1964], 'The Sound of Music' [1965] and 'Oliver!' all took home the coveted gold statuette, and such noteworthy favourites as 'The Music Man' [1962], 'Mary Poppins' [1964], 'Doctor Doolittle' [1967], 'Funny Girl' [1968] and 'Hello, Dolly!' [1969] also nabbed Best Picture nominations. That's quite a haul for a genre often dismissed as insipid and shallow. Yet the musical has always bolstered audience by providing escapist entertainment during such trying times as the Depression and World War II, so maybe it was fitting to finally acknowledge the form's contributions during one of our nation's most difficult periods. Unfortunately, all the adulation may have incited a backlash, for after the victory of 'OLIVER!' and 34 years would pass before another musical 'Chicago' would be named Best Picture [exhausting yawn!]. Such are the fickle ways of the Oscars.'OLIVER!' gave the impression of the good old days and rose-tinted portrait of society's underbelly at a time when tolerance for such sugar-coating was at a particularly low ebb, yet understandable because the film distracted the public from the serious issues of the day and, through its ebullient musical numbers and inspirational story, gave us hope that good really could triumph over evil. Sir Carol Reed's film certainly brandishes a dark and disturbing edge during its second half, with the horrifically menacing Bill Sikes symbolizing the distrust, paranoia, anger, and violence that permeated both mid-19th centuries England.Oliver Twist is arguably the most renowned orphan in all of literature, and his signature line "Please, sir, I want some more" is legendary. Yet after he makes that audacious request to the austere and sadistic wardens of the workhouse where he's incarcerated, Charles Dickens' plucky, pint-sized hero begins an arduous journey to find some semblance of home and family. A chance encounter with a spritely pickpocket named the Artful Dodger [Jack Wild] leads Oliver [Mark Lester] deep into London's bowels and into servitude to Fagin (Ron Moody), the patriarchal leader of a youthful gang of thieves. After a spell in the trenches, a bit of coincidence and serendipity – this is Charles Dickens after all and changes Oliver's fortune, but his newfound prosperity doesn't sit well with Fagin's grown-up henchman, the maniacal and sociopathic Bill [Oliver Reed], who fears exposure. Bill conspires to kidnap Oliver to keep him from talking, which outrages his devoted girlfriend, the maternal Nancy [Shani Wallis], who risks her own safety to protect and rescue the young boy.Charles Dickens wrote “Oliver Twist” as an indictment of the exploitation and abuse of underprivileged children, who were often treated as slaves in deplorable workhouses and victimized and ignored by a society that refused to take responsibility for them. Reed's film touches upon these potent themes, but the musical nature of the piece softens the sting. A nostalgic quaintness defines this vision of London at the dawn of the Victorian Era, as the movie concentrates more on the fairy tale aspects of Dickens' novel than its social commentary. Though it's impossible to ignore the undercurrent of depravity that courses through ‘OLIVER!’ there are something innately cute and endearing about dirty-faced ragamuffins picking the pockets of gentleman dandies, and the film does little to quash such an attitude.Composer Lionel Bart, whose infectious score includes several classic melodies such as “Where Is Love,” “As Long As He Needs Me,” “Food Glorious Food” and “Who Will Buy?” among them, often diffuses the gravity of these situations and his bouncy tunes tend to derail the narrative rather than expound upon it. Abuse and violence still had to be dealt with delicately in 1968, and the screenplay by Vernon Harris integrates them into the musical's rigid confines as well as it can. If produced today, 'OLIVER!' would undoubtedly adopt a more serious air, but the production wins points for its shift toward darkness during its latter stages. Carol Reed gave 'OLIVER!' plenty of effective film noir accents that heighten tension as the drama nears its climax. He also eschews any sort of musical finale in favour of a low-key ending that wisely spotlights character and thematic elements, and gives the movie a lovely resonance.The use of unknown actors adds authenticity to the film, and all involved file vivid, dimensional portrayals. Ron Moody, who received a well-deserved Best Actor OSCAR® nomination, especially impresses as the greedy, manipulative Fagin, who grooms his orphan charges into criminals. Fagin unwittingly creates Bill Sikes, an out-of-control, rotten-to-the-core monster, played with explosive menace by Oliver Reed, nephew of the movie's director. As the benevolent, masochistic Nancy, Wallis is both tough and tender, and her rendition of the show's signature song, “As Long As He Needs Me” radiates with power and warmth.'OLIVER!' remains a terrifically entertaining, meticulously produced motion picture that brims with vitality and artistry, and features more than a dozen memorable tunes. Commercial and critical success usually eludes musicals with serious themes, but Carol Reed's production is that rare exception that pleases on a variety of levels and appeals to a wide range of ages. Though the tale of Oliver Twist has been filmed no less than nine times from 1922 to the present time, this is the most beloved and revered version, and it's doubtful that opinion will ever change.Blu-ray Video Quality – A nice step up from the 30th anniversary DVD, this 1080p ultimate image transfer from Sony Pictures Home Entertainment possesses a brighter, clearer picture than its inferior standard-definition counterpart, and the source material is much cleaner, too. Gone are the nicks and marks that dotted the inferior PAL DVD, leaving a crisp, well-detailed image that immerses us in 19th century London. Visible, but not overly intrusive grain preserves the film-like feel, and solid contrast provides marvellous depth to such large-scale numbers as 'Who Will Buy?' and 'Consider Yourself.' A muted colour palette properly predominates during the movie's bleak first half, but when Oliver's prospects improve after the intermission, so does the liveliness of the picture. Though the green lettuce and orange carrots of the London market add welcome punch to the picture early on, the Bloomsbury Square sequence substantially ramps up the hue quotient, as the red roses carried by the flower girls, the green grass of the common, and the crystal blue sky all combine to create a vibrant scene. Black levels are quite good, especially in the dank hovel where Fagin and his minions reside. Whites, however, really impress, from the copious snow early in the film to the bright exteriors of the Bloomsbury Square townhouses, which by the way was filmed at the “Royal Crescent” a row of 30 terraced houses laid out in a sweeping crescent in the city of Bath, England and designed by the architect John Wood the Younger and built between 1767 and 1774, it is among the greatest examples of Georgian architecture to be found in the United Kingdom and is a Grade I listed building. Flesh tones remain true and stable throughout, and close-ups spotlight fine facial details well. In addition, background elements are easy to discern, shadow delineation is good, and no anomalies like crush or noise could be detected. This is by far the best 'OLIVER!' has ever looked on home video, and those who own the previous DVD shouldn't hesitate to upgrade. If you're a fan of this musical, you'll be quite pleased with the quality of this release.Blu-ray Audio Quality – The 5.1 DTS-HD Master Audio track infuses 'OLIVER!' with more sonic oomph than it's ever had, thanks to excellent fidelity and a striking depth of tone that beautifully shades the warm vocals and robust, Oscar-winning orchestrations. Though a significant volume boost is necessary to maximize the audio's output, once a comfortable level is reached, the track's subtleties and accents really shine through. Unfortunately, despite the mix's multi-channel moniker, almost all the sound is front-based, yet excellent stereo separation, that's immediately noticeable during the overture's initial strains that nicely widens the soundscape and adds sufficient aural interest. Ambient effects, such as the creaking gears of the grist mill and chirping birds outside Oliver's Bloomsbury Square window, come across well and any age-related hiss, pops, and crackles have been erased. The 'OLIVER!' track nevertheless impresses and provides a fine audio framework for this classic musical. An isolated audio track is also included for those who really want to immerse themselves in Lionel Bart's score.Blu-ray Special Features and Extras:Special Feature: Vintage Original Behind-the-Scene Documentary [1080p] [15:00] A grown-up Mark Lester sits down to chat about his experiences making 'OLIVER!' in this 2007 interview. According to the former child star, more than 5,000 boys auditioned for the part of Oliver, and once he was cast, he rehearsed with the company for six months before shooting began. Lester recalls his "instant friendship" with Jack Wild, who was quite supportive throughout the production; how he was terrified of Oliver Reed, and didn't have to act during their scenes together because he was naturally scared; and how director Carol Reed, who was "like a kindly uncle," often required 50-60 takes before he was satisfied. Lester shares a couple of anecdotes as well, such as a practical joke he played on Harry Secombe, and his memorable trip to the Oscars with Wild. Film clips and photos enhance this interesting look back.Special Feature Documentary: Meeting Oliver! [1080p] [15:00] A grown-up Mark Lester sits down to chat about his experiences making 'OLIVER!' in this 2007 interview. According to the former child star, more than 5,000 boys auditioned for the part of Oliver, and once he was cast, he rehearsed with the company for six months before shooting began. Lester recalls his "instant friendship" with Jack Wild, who was quite supportive throughout the production; how he was terrified of Oliver Reed, and didn't have to act during their scenes together because he was naturally scared; and how director Carol Reed, who was "like a kindly uncle," often required 50-60 takes before he was satisfied. Lester shares a couple of anecdotes as well, such as a practical joke he played on Harry Secombe, and his memorable trip to the Oscars with Jack Wild. Film clips and photos enhance this interesting look back.Special Feature Documentary: Meeting Fagin! [1080p] [13:00] Also from 2007, this equally absorbing piece allows actor Ron Moody the chance to reminisce about his 'OLIVER!' experiences. Though he originated the role of Fagin on stage, Ron Moody couldn't believe Carol Reed cast him in the film version, because he wasn't at all well-known. Among other things, he remembers Mark Lester as "a sweet little boy" and "surprisingly professional," compares Jack Wild to Mickey Rooney, and calls Oliver Reed "the biggest kid I ever met." The ebullient Ron Moody also goes into detail about how his Fagin look evolved, and sings a few bars from the score.Finally, another Best Picture winner finally gets a Blu-ray release, and though 'OLIVER!' and definitely one of the finest movie musical ever made, and it remains a stellar adaptation of the classic Charles Dickens tale. Distinguished by a terrific Lionel Bart score that features a number of instantly recognizable tunes and robust performances by a top-notch British cast, 'OLIVER!' rightfully earns its exclamation point and continues to be grand family entertainment 45 years after its initial release. Sony Pictures Home Entertainment’s Blu-ray presentation does the film proud with a sparkling transfer that improves upon the previous inferior DVD format, with solid audio, and a small array of supplements. Whether you're young or old, 'OLIVER!' will wend its way into your heart, and this multi-OSCAR® winner comes with very high praise and endorsement especially from me, and has now gone pride of place in my ever expanding Blu-ray Collection. Highly Recommended!Andrew C. Miller – Your Ultimate No.1 Film AficionadoLe Cinema ParadisoUntitled Kingdom

good

Great film

'Oliver' the musical is a classic! I am a big fan of musicals and thankfully musicals such as 'The Sound of Music', 'Westside Story', and 'The Music Man', to name a few, have been treated as classics and have been faithfully and meticulously restored to their former brilliance. 'Oliver' is also a classic and boasts some of the most recognizable music ever, as well as some of the most grandiose musical chorography sequences ever done. 'Oliver' was certainly deserving of the Best Picture Oscar in 1968 and it is much deserving of a proper restoration! 'Oliver' was 50 years old in 2018, so Sony could have done a 50th Anniversary blu-ray release that did the movie justice. Instead, Sony's 2018 release of 'Oliver' on blu-ray misses the mark terribly. When I bought the 2018 Sony release of 'Oliver' on blu-ray I thought I would be upgrading in quality compared to my 30th Anniversary release from Columbia Pictures on DVD. I was sadly mistaken. The movie case of the 2018 blu-ray indicates the audio is 5.1 DTS-HD, but when I played it sound only came out of the front speakers. The 1998 DVD indicates 5.1 Dolby Digital on the case and it delivers in that category, filling my home theatre with a broad soundscape deserving of the music in 'Oliver'. The picture is somewhat sharper on the blu-ray, compared to the DVD, which is expected, and even though I think some grain adds to realism, I think Sony could have done a better job cleaning that up. Also, the color rendering in the blu-ray is terrible - everyone's faces are red. The color balance is much better in the DVD. Even though the DVD is a bit blurry on my 100-inch screen, it is still superior in sound and picture to the blu-ray (as a person who loves pointing out how superior in quality most blu-ray movies are, I can't believe I'm even saying that). I hope at some point Sony comes to their senses and does a proper restoration of 'Oliver'. It's not too late to plan a 55th Anniversary release, and considering everyone is shut in due to Covid, they should have lots of time of their hands to get it done. I think it goes without saying that I returned the blu-ray release to Amazon.