Oliver and Mr. Brownlow are related. As in many versions (such as the 1997 Disney version and the 1948 adaptation by David Lean), Brownlow is made Oliver's grandfather, however, unlike in previous versions, this relationship is more implied than explicitly stated. Due to the absence of the Maylie family, Oliver is not left by Sikes to die during the burglary, rather he is taken back to Fagin's. The Artful Dodger is not deported to Australia and, therefore, plays a larger role in some of the later events in the story. Firstly, like in David Lean's 1948 film and the 1974 animated version produced by Filmation, he is sent by Fagin (instead of Noah Claypole who appears only in the earlier scenes) to spy on Nancy, indirectly causing her death by informing Fagin and Sikes that she has informed on them. Secondly, it is Dodger (instead of Charley Bates, whose role is also smaller in the film than the novel) who turns against Fagin and attempts to give up Sikes to the police for murdering Nancy. However, his ultimate fate is left unknown after Sikes' death. Reception The film received mixed to positive reviews, holding a 61% score on Rotten Tomatoes based on 143 reviews, averaging 6.3/10. The consensus reads, "Polanski's version of Dickens' classic won't have audiences asking for more because while polished and directed with skill, the movie's a very impersonal experience." Metacritic assigned a score of 65, indicating 'generally favorable reviews.' A. O. Scott of The New York Times called it a "bracingly old-fashioned" film that "does not embalm its source with fussy reverence" but "rediscovers its true and enduring vitality." He added, "the look of the movie... is consistent with its interpretation of Dickens's worldview, which could be plenty grim but which never succumbed to despair. There is just enough light, enough grace, enough beauty, to penetrate the gloom and suggest the possibility of redemption. The script... is at once efficient and ornate, capturing Dickens's narrative dexterity and his ear for the idioms of English speech." Roger Ebert of the Chicago Sun-Times was similarly positive; he lauded the film as "visually exact and detailed without being too picturesque." Mick LaSalle of the San Francisco Chronicle praised it as a "grounded and unusually matter-of-fact adaptation," continuing, "Polanski does justice to Dickens' moral universe, in which the motives and worldview of even the worst people are made comprehensible." Lisa