Little Women (2019)

Review

134min

Genre:       Drama, Romance

Director:    Greta Gerwig

Cast:         Saoirse Ronan, Florence Pugh, Emma Watson…and more

Writers:     Greta Gerwig and Louisa May Alcott

-Synopsis-

In post civil war Massachusetts, a quartet of different but very close teenage sisters deal with the romantic and emotional growing pains of coming-of-age in their own disparate ways, balancing their station in life with their aspirations in the warm shadow of their wealthy neighbours, as they forge their independence in a man’s world, in this latest ensemble screen adaptation of the Louisa May Alcott novel, from the director of ‘Lady Bird’.

A troubled project which was stuck in-development for years with different female writers and directors going through the mill, the latest adaptation of a classic 19th century novel with transcending themes finally found its captain in indie queen turned writer/director Greta Gerwig after the success of 2017 ‘Lady Bird’, serendipitously coinciding with the wave of female empowerment sweeping through Hollywood—as the Californian filmmaker wrangles a blue-chip cast and subtly injects modern vigour and her own charms into a timeless tale of womanhood.

Saoirse Ronan stars as aspiring young author ‘Jo March’, a fiercely independent tomboy with no marital aspirations but a passion for literature, living modestly in rural mid-1800s Massachusetts with her sisters; the maternal and refined ‘Meg’ (Emma Watson), the artist and ambitious social-climber ‘Amy’ (Florence Pugh), and the shy youngest ‘Beth’ (Eliza Scanlen)—raised by their dutiful mother ‘Marmee’ (Laura Dern) in their father’s absence, while their ornery old ‘Aunt March’ (Meryl Streep) watches from a distance. But their paths to womanhood soon become muddled by love and loss, ambitions and responsibilities, as the attentions of their young gentleman neighbour ‘Laurie Laurence’ (Timothée Chalamet) and his wealthy grandfather (Chris Cooper) conspire with the realities of life to complicate their lives . . . but never quite stifle their spirit.

It’s safe to say that Alcott’s novel has always been a Hollywood favourite, with this ‘Little Women’ marking the sixth big screen version (not including the lost 1917 British film) since the 1918 Harley Knoles silent film—not to mention many more made-for-TV adaptations—and it’s the second to be directed by a woman since Gillian Armstrong’s all-tar 1994 version. All of which is an indication of the novel’s timeless quality, begging to be revisited as the position of women in society has changed throughout the last century . . . and yet some things always ring true.

It’s easy to see why Gerwig and the studio would be drawn to Alcott’s work—a story of its time but also for our times—which perceptively illustrates a female perceptive on the growing pains of young adulthood, and the illusive balance between hopes and dreams, and the needs and expectations of the world around them, all against the backdrop of an evolving place in society. Most importantly it’s a measured tribute to the strength and complexities of the so-called ‘fairer sex’, underlining with grace the fact that different women want different things by using the immortal line “just because my dreams are different from yours doesn’t mean they’re unimportant”—a truly progressive message of female empowerment that some fourth-wave feminists could learn from.

And it’s a testament to how nuanced and mature a filmmaker Gerwig has already proven to be that she resists an increasingly common urge to inject an amplified social justice message and a bit of historical revisionism into a period costume tale. Instead she lets  the novel’s own female empowerment credentials shine through by modulating the message through a fresh energy and more vibrant voice suited to a modern audience, often using a bit of humour to accentuate the emotion . . . or occasionally even puncture it.

‘Little Women’ is clearly also a tale of sisterhood and friendship, and its inevitable evolution though life, with romance, a love triangle, and plenty of unrequited love thrown in the mix. But this take on Alcott’s semi-autobiographical novel is just as much a story about a writer, created by a writer, and retold here by a writer, with Gerwig determined to reflect that though plenty of authorial references, and by making it a key component of the narrative through Jo’s experiences.

An ensemble piece like this will inevitably rise or fall on the strength of the cast and its performances, but luckily for them Gerwig and her casting director really know how to pick ’em. Bringing together younger actors like Timothée Chalamet in ultra-charming mode, with accomplished and reliable veterans like Laura Dern, Tracy Letts and Bob Odenkirk, plus two masters in Chris Cooper and the great Meryl Streep as the curt old aunt, who makes every moment of her brief appearance count by hilariously unleashing her cantankerous and acerbic side. But the film’s heart is rightly made up of the four eponymous little women, and luckily for us they don’t disappoint.

It’s a testament to Hollywood’s global nature, and perhaps an indication of the strength of performer across the globe that in a Massachusetts story, none of the main characters are played by Americans. Instead Aussie debutante Eliza Scanlen delights as the introverted baby of the group, while two Brits take centre-stage in the form of star Emma Watson who makes a triumphant screen return after a near three year absence, and the impressive Florence Pugh as the ambitious social-climber Amy, capping off a stellar year which saw her tackle local family wrestling and creepy cult horror, in a career which started auspiciously with another 19th century costume drama.

But it’s Irishwoman Saoirse Ronan who undoubtedly leads the line here as the story’s irrepressible lead Jo, masterfully walking the inner conflict line between strength, vulnerability and uncertainty, taking the role closer to Katherine Hepburn’s iconic 1933 interpretation and in the process further underlining her deserved reputation as easily one of the finest actors of her young generation, and at just twenty-five one of the very best working today.

In an American production with strong British and Irish participation, there’s also a decidedly French feel to the film’s style credentials, elegantly shot by French cinematographer Yorick Le Saux (Only Lovers Left Alive, High Life)—who takes full advantage of several picturesque Massachusetts locations and photographs top-notch costume and production designs—while the mood is set and emotions manipulated by yet another characterful score from the masterfully versatile Alexandre Desplat (The Grand Budapest Hotel, The Shape of Water).

So all the ingredients are there for a sterling and faithful adaptation, but that’s just what prevents this ‘Little Women’ from truly sparkling or leaving an indelible mark, it’s a bit too faithful. Despite its humour and selective idiosyncrasies, Gerwig seems very careful not to inject too much of herself into the project, and it feels like a missed opportunity, lacking the measure of charm, comedy and quirk that we might have liked, or that the trailer suggests. It doesn’t quite stir the soul or wrench the heart where it should either—although we probably have an over-familiarity with the material to thank for that—and the film’s handling of the non-linear structure doesn’t help either, jumping too subtly back and forth between past and present, to occasionally disorientating effect.

Yet there’s plenty to love about this ‘Little Women’, and you could argue that some of its strength lies in its restraint and maturity, which nevertheless still manages to weave some modern verve and vigour into a one-hundred-and-fifty year old story—all-in-all delivering a delightful family costume drama and coming-of-age story which will captivate and entertain most, but ring particularly true with women across generations.

The Bottom Line…

A faithful and notable adaptation of a classic 19th century novel for a 21st century audience, with ‘Little Women’ Greta Gerwig continues her impressive career transformation by skilfully balancing a stellar cast with a delightful and mature story of female empowerment, and a charming ode to the complexities of a woman’s coming-of-age . . . in any era.

Similar films you may like (Home Video)

Far from the Madding Crowd (2015)

In 19th century rural England, a fiercely independent farm-running young heiress is pursued by three very different and determined suitors for her hand in marriage, in this stylish period drama and latest big-screen adaptation of the classic Thomas Hardy.

Thomas Vinterberg and starring Carey Mulligan, Matthias Schoenaerts and Michael Sheen among others.

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