Director Greta Gerwig put a feisty new twist on an all-American classic
Starring Saoirse Ronan, Florence Pugh, Emma Watson, Eliza Scanlen, Timothée Chalamet, Meryl Streep & Laura Dern
Directed by Greta Gerwig
In theaters Dec. 25, 2019
Little Women has always been a pretty big deal.
The beloved novel by Louisa May Alcott was a coming-of-age smash from the get-go in 1868, a commercial success that spawned a couple of sequels and got the attention of Hollywood almost as soon as “motion pictures” became a thing. The first (silent) film version of the book came out in 1917, followed by a steady stream of nearly a dozen other big-screen and TV-movie adaptations over the years.
Director Greta Gerwig’s new version puts a fresh, lively, sumptuous, all-star spin on the story about the four March sisters in 1860s New England during and immediately after the Civil War. Bursting with life, pulsing with emotion and swirling with themes that resonate far beyond its period-piece setting, this Little Women is a thoroughly engaging blend of rich nostalgic detail, lively contemporary wit and sometimes heart-wrenching, timeless sadness. If you’ve seen any of the previous versions, or even if you haven’t, this “Little” one stands tall and on its own.
Saoirse Ronan stars in the lead role of Jo March, a passionate fledgling writer who values her personal and creative freedom and whose own novel-in-progress parallels Alcott and Little Women—especially when Jo spars with a publisher (Tracy Letts) over the rights to her work.
Gerwig—who also wrote the screenplay—and Ronan worked together previously in Lady Bird (2017), which was nominated for five Oscars, including Directing, Actress and Screenplay (for Gerwig). Clearly, they’re a winning team, and if there were ever any doubts about Gerwig having arrived as a major-league filmmaker—especially one able to helm a “major” motion picture—this will put them to rest once and for all. Little Women is going to be huge this Christmas, and the awards buzz is already humming.
Jo’s sisters are Meg (Emma Watson), a budding stage actress who really just wants to marry, settle down and start a family; Amy (Florence Pugh), a frustrated artist; and the quiet, piano-playing Beth (Eliza Scanlen). Everybody gets plenty to do, especially when the rich, waggish boy-next-door, Laurie (Timothée Chalamet), enters the picture, along with his handsome tutor (James Norton), a really bad case of scarlet fever comes around, and jealousy and vindictiveness break through the sisters’ stong bonds of affection.
Laura Dern is mom Marmee, a big-hearted social worker giving her all to the Union’s war effort, and waiting for the return of her husband (Bob Odenkirk) from the battlefield. Meryl Streep is Aunt March, who tries to point her young nieces’ down the time-honored path of tradition; she cautions them against pursuing any course other than finding husbands. But these girls, these “little women”—with dreams of music, the stage, literature and drama—aren’t all convinced, especially the rebellious Jo. “Women have minds and souls as well as hearts,” she says.
Gerwig scrambles the timeline by going back and forth across the years; it can be a bit confusing at first, but it does allow us to observe how events and characters overlap and interweave, and how certain “small,” seemingly insignificant interactions later become significant, indeed. And she gives the story a twist and a bold, delightful, dramatic meta flourish at the end, one different from the novel and all the other versions, that underscores the movie’s ultimate message of Jo’s rousing independence.
Everyone in the cast is wonderful, but the crux of this sisterhood saga belongs to Jo and Amy, and Ronan and Pugh are galvanizing in their roles as their characters grow, evolve and mature. Throw in Chalamet—maybe you caught his buzz in Call Me By Your Name and, also with Ronan, in Lady Bird—for a real New England heart-bruiser of a slow-burn romantic triangle.
The movie’s also a visual delight, with more costumes than a three-week Las Vegas Cher extravaganza, and a parade of splendid settings, from parlors to festive balls, bustling city streets, New York City carriage rides, a play-filled day at the beach, winter ice-skating and leafy fall strolls. At just outside a stuffy soiree, Chalamet gets to bust a move or two that might not be 100 percent authentic to the Civil War era, but hey, he and his wrap-around porch groovin’ are awesome cool.
Or, as Jo exclaims, he’s “capital!”
So is Gerwig’s Little Women. This handsome, heartwarming holiday treat is a reminder that some classics are, indeed, classic for a reason—and now it’s been relaunched by one of Hollywood’s top female filmmakers and a sterling female cast, reworking a familiar, old story with vibrant new zing and zest, and a celebratory message that will resonate anew with women of all ages in today’s modern world.
And oh, it’s capital!