With at least six film versions preceding it, along with countless other television productions, is there really a need for yet another stab at Little Women, Louisa May Alcott’s classic tale …
With at least six film versions preceding it, along with countless other television productions, is there really a need for yetLouisa May Alcott’s classic tale of four sisters coming of age just after the Civil War? In the hands of writer-director Greta Gerwig, who clearly has a passion for the book and especially its timeless appeal to young women, the answer is affirmative.
By taking the key character of Jo March and essentially putting the voice of the author into her and her battle for independence in a male-dominated society, Gerwig has put the emphasis on becoming your own person and making your own mark on the world. Is this a feminist take? Sure, but it is not blatantly in our face; instead it’s a warm and inviting look at these four different young women who each meet their fate head-on in their own way.
I confess I have never read the book, and might have thought it just for girls, but I have to say the way Gerwig has brought it to life this time around intrigues me enough to check it out and try to see whatThe movies have been in love with throughout the whole of cinema history, starting with silent versions in 1917 and 1918, then the only version to be Oscar nominated for Best Picture in 1933, another take in 1949, the Winona Ryder-starring 1994 version — the first to be directed by a woman...
Emma Watson as Meg is the more settled March sister, and Eliza Scanlen plays Beth, the one whose lot in life sadly touches us the most. Among the rest of the cast standouts include Laura Dern, warm and wise as Marmie, and the indomitable Meryl Streep, who nails Aunt March as only she can, with biting lines and not-always-welcome advice.
Gerwig’s screenplay is at all times faithful, even more than that in some ways, to Alcott and what she was saying with this seminal novel, but it really adds layers I haven’t ever seen in anyOn top of that, this film confirms her as a director to be reckoned with. The production values she brings are simply wonderful, including Alexandre Desplat’s melodic score, Yorick Le Saux’s gorgeous lensing, Jess Gonchor’s picture-perfect production design and the period costumes of Jacqueline Durran.
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