Review of Little Women (2019) by Markhreviews — 06 Jan 2020

In her version of “Little Women,” Writer/Director Greta Gerwig may well have captured the essence of author Louisa May Alcott’s beliefs and sensibilities more effectively than Alcott’s original book.

The story, set in Massachusetts near the end of the Civil War, centers on the lives of four sisters – Jo (a fiercely independent writer), Amy (an artist), Meg (whose main ambition is husband and family) and Beth (a pianist in delicate health). The home fires are managed by their mother, Marmee, who is frugal, ever-thoughtful and admirably altruistic, with occasional intrusion from wealthy elderly Aunt March. Laurie is a rich, indolent heartthrob-next-door in constant pursuit of Jo. Professor Bhaer is an academic Jo meets during a sojourn in New York City. Alcott’s text is often described as an “idealized autobiography” – the characters are based on friends and family members, but reconstructed with considerable literary license.

This novel has been the basis for many stage plays, musicals, radio shows, even a few operas. Inevitably, there have been several previous TV and movie productions, including a 1978 NBC mini-series sporting William Shatner as the professor with an amazing German accent, a 1949 movie with Elizabeth Taylor as Amy, a 1933 movie with Katherine Hepburn as Jo and a 1994 movie in which Winona Ryder was Oscar-nominated for her performance as Jo, with Christian Bale as Laurie. All of this is to suggest that if you’re going to address this chestnut again, it had better be well-roasted on that open fire. Fortunately, Gerwig’s trip down memory lane is well-done, in every respect.

One great strength of the current production is the balance of its cast. As Jo, Saoirse Ronan is reunited with Gerwig, who directed her in “Lady Bird” (Ronan received an Oscar nomination for Best Actress while Gerwig was nominated for both Best Director and Best Original Screenplay). Her intense independence drives the story at several key points. As Laurie, Timothee Chalamet (“Lady Bird,” “Call Me by Your Name”) causes regular swooning among the female population, onscreen and in the theater. Florence Pugh (“Little Drummer Girl”) as Amy and Emma Watson (Harry Potter series) as Meg also are compelling. There are additional strong performances by actresses playing against type – Lara Dern as Marmee is warm, empathic and grounded. Meryl Streep as the manipulative Aunt March draws well-earned hisses.

But it’s Gerwig’s screenplay that is the real star of this show. Gerwig masterfully crafts the film’s final act to update the original novel in ways that seem much more true to Alcott’s life and beliefs. She also weaves in other Alcott material to bolster her empowerment theme. In the third act, Gerwig borrows material from Alcott’s “Rose in Bloom” (1876) to capture the essence of Jo’s frustration with the world around her: “Women, they have minds and they have souls, as well as just hearts… I’m so sick of people saying that love is just all a woman is fit for.”.

The film is made even more interesting if the moviegoer considers that, while Alcott has clearly modeled Jo after herself, perhaps Gerwig herself is equally entwined with the pair. The Act One scene of Jo and Laurie dancing maniacally outside on the porch seems to channel the goofy gracefulness or graceful goofiness of some of Gerwig’s previous acting roles, particularly “Frances Ha” and “Mistress America.” All this makes “Little Women” feel intimate, urgent and important, even for the males of the species.

“Little Women” may be an effective antidote to the mania of the Safdie Brothers’ “Uncut Gems,” which is another way of saying it drags in places. But it’s also uplifting, timely, observant and well worth your time.