Checked out the latest film version of Little Women. This is Greta Gerwig and Saoirse Ronan’s follow-up to Lady Bird and the fourth major Hollywood adaptation of the book but probably the thirtieth adaptation in general (counting tv shows, animated version, and smaller productions including the mediocre one just from 2018). And this, in my opinion, is certainly the best of the versions I’ve seen… though I most certainly haven’t seen ’em all. I felt disconnected from Gerwig’s Lady Bird… not remotely so with this one.
So Little Women is the adaptation of the classic Louisa May Alcott novel of the same name. It follows the lives of four sisters – Jo, Amy, Meg, and dear dooomed Beth. Sorry about the 150 year old spoiler. The story is just a slice of life and analysis of the roles or expectations of women in the 1860s… each film version makes certain changes and/or focuses on different things with this one being the strongest and most accessible, in my opinion.
This new version is unique in that it’s told via flashbacks. It starts shortly before Beth’s ultimate (eternal and forever) fate when the girls are young adults and out on their own. The film flashes back to events of their teen years and makes thematic connections to the present. It’s a very clever approach to what’s always been a fairly straight-forward telling in other adaptations. The new structure usually works quite well, though there are certain moments where you may be confused what timeline you’re in (they do a good job of setting them apart from changes in character age, clothes, hair, and color correcting the film). This structure does assume you have a working knowledge of the story though… especially when it drops spoilers about the status of relationships and health of characters). Newcomers might be a little mystified at first, but probably not so much they can’t catch up.
But all the razzmatazz of film editing is fine, but it alone doesn’t cover why this is such a fantastic film. And it IS a fantastic film… not just the best adaptations of the novel, but one of the best films of the year. That comes down to great acting from Saoirse Ronan as Jo, Emma Watson as Beth, Florence Pugh as Amy, and newcomer Eliza Scanlen as poor forever doomed Beth. Timothee Chalamet plays a nicely vapid Laurie, Laura Dern is a strong mama march, and Meryl Streep savages everyone as matronly Aunt March. The four leads – especially Ronan and Pugh – are fantastic in their parts and play them throughout the film (no recasting for age). Ronan has a simply heartbreaking scene or three that’s completely in touch with her character’s journey. Florence Pugh adds new dimensions to Amy, the artists who doesn’t see much opportunity for herself outside of the economic realities of the time (and how marriage is an economic prospect more than anything else for women). Emma Watson – the biggest star arguably – does a fine job playing second – but no less important – fiddle. Kudos to her for taking the less flashy roll.
This is a deeply warm, heartfelt film. Scene after scene feel like a warm hug, of a sad hug, or a bittersweet hug. Only the strongest, most cynical audience member will avoid some level of tears or joy or both. The acting and editing is just that powerful. I was really surprised to realize how invested I was in the characters (and not just Jo) even having seen (and read) this story before. It reinvigorates the story. It’s really that good.
So, yeah, this is a fantastic film that I think will work for any audience (though it might confuse newcomers at first with its time skipping). It’s got a more direct yet not strident message about feminism as well… and for folks that might scare off, don’t worry (even you can’t argue that women got the short end of the stick in the 1860s…). The best thing I can say about the movie is that it not only made me want to re-read the novel, but it also inspired my creative side. Not all movies can do that plus make you care this deeply about its characters. Very well done.
Score: 91