Little Women-2019

Director Greta Gerwig

Starring Saoirse Ronan, Florence Pugh

Scott’s Review #982

Reviewed January 21, 2020

Grade: A-

Numerous adaptations of the 1860s classic novel by Louisa May Alcott have been forged upon the silver screen, some good and some not as good.

The consensus is that Little Women (2019) is one of the better offerings, if not the best.

Director Greta Gerwig crafts a clear feminist, progressive version of the trials and tribulations of the March family, led by the spirited, spitfire Jo (Saoirse Ronan). Gerwig’s telling is fantastic, breathing fresh life into a classic story.

The story fluctuates heavily between 1868 and 1861, spanning both the United States Civil War and its aftermath.

Liberal, the Marches reside in Massachusetts, led by matriarch Marmee (Laura Dern), who mainly lives life while their patriarch, Father March (Bob Odenkirk), is off at war. The rest of the household includes sisters Jo, Meg (Emily Watson), Amy (Florence Pugh), and the youngest daughter, Beth (Eliza Scanlen).

The family endures joy, hardship, romance, love, and death as they navigate the decade.

The focal point is Jo, a determined young lady, who moves to New York City, frequently reflecting on her life through back-and-forth sequences.

She begins, as an aspiring writer, and as she grows up, eventually becomes a success, having her novel published boldly. She resists the tried and true and questions why a woman must rely on a man for success rather than her efforts and talents.

During the story, she is pursued by two young men, Laurie (Timothee Chalamet) and Friedrich (Louis Garrel).

Little Women is a fantastic and emotional story and a film that has no need for CGI, car chases, explosions, or any ingredients meant to enliven a film. It does not need them.

The excitement is in the plot, as we thirst for more of the ups and downs that the March family faces. With any successful drama, there are nuanced characters, each taking a turn at a story.

While Jo is the headliner, Amy, Meg, and Beth are much more than opening acts. They each have their own lives, dreams, triumphs, and hardships, and the audience cares about each of them.

To capitalize on this point, the casting is dynamite. In a small, but brilliant role, Meryl Streep gives a bombast to her character of Aunt March, the wealthy widow who owns a gorgeous house and vacations in Paris.

She is cranky, but wise, only wanting the very best for her nieces, which is, of course, to marry rich!

Ronan is well-cast and charismatic as Jo, the actress who loses her Irish accent for an American one. She utilizes her acting skills to imbue Jo with determination and just enough empathy to win over the audience.

Gerwig assures that the audience is reminded of the times and what it meant to be female during the 1860s, with a minimal chance at self-achievement, having to rely on a man for nearly everything.

She is in no way demeaning or ridiculing the male gender, though. She paints no villains in her film, instead showing men as supportive at times, enamored at other times, but never exerting their power over women.

Little Women receives a minor demerit in the pacing department. The film sharply shifts back and forth, in a too rapid manner, from period to period, at times leaving the viewer unclear as to which section of the film they are in.

Blessedly, this ceases about midway through, but the technique is jarring and unnecessary. One wonders what the action was intended to achieve and why a more straightforward approach to storytelling was not used.

A key facet of any outstanding film is the emotional reaction, and Little Women had this viewer with tears streaming down his face. Sometimes for joy, sometimes for sadness, all in an organic way given oomph by a powerful musical score that resonates but never overwhelms.

The film is one in which all its elements come together in perfect harmony.

The film received six nominations, including Best Picture, Best Actress (Ronan), Best Supporting Actress (Pugh), and Best Adapted Screenplay. Sadly, and in a never-ending slight for female directors, Gerwig was overlooked.

Before the 2019 film adaptation of Little Women, the novel had been adapted for film six times, with the most successful versions being in 1933 and 1949.

Seventy years later, the most modern version is arguably the best, with a left-leaning stance that is oh so necessary in modern times.

Oscar Nominations: 1 win- Best Picture, Best Actress- Saoirse Ronan, Best Supporting Actress- Florence Pugh, Best Adapted Screenplay, Best Original Score, Best Costume Design (won)