Rewatching Little Women

Greta Gerwig’s Little Women (2019) is on Amazon Prime Video now. I watched it twice in the theatre last year, now rewatching it at home gives me another kind of pleasure: more intimate, easier to observe nuances, and replay memorable lines on demand. It remains one of the best films I’ve watched in recent years.

Reposting here my review. Hope you have a chance to watch it.

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Little Women is not just about heart, but mind, aesthetics, and other enjoyment

Greta Gerwig’s adaptation of Little Women is a joyous celebration of family and life. It’s an innovative feature, and a worthy rendition keeping Louisa May Alcott’s story intact and her spirit alive. The storytelling is shifted from linear to juxtaposing the timelines of seven years apart, from the March sisters’ teenage years to adulthood. A break from traditional adaptations of the novel, and a structure modern movie goers are familiar with.

So, instead of waiting for two hours to see what have become of the girls, viewers get to see how they’ve turned out from the start and throughout the film as the timelines switches back and forth. One effect is the intermingling of memory and present reality, adding texture to just linear storytelling. The editing is smooth as music and sound often overlap the changes of scenes like a visual dissolve.

The Oscar nominated director (Lady Bird, 2017) has surpassed herself in crafting an exquisite piece of artful creation. Unlike most other movies nowadays, Little Women is shot using 35mm film rather than digital technology. Cinematographer Yorick Le Saux offers viewers the inherent aesthetics of the medium, a grainy, more subtle visuals that augment picturesque New England in the exterior shots, and the depth and mood in the low-light interior. The picnic scene at the beach is pure delight. Mixed with Alexandre Desplat’s original music, the film is a beauty to behold.

Alcott’s 19th century American classic (1868-9) has been transposed to the big and small screen many times. No matter what your previously held memory is, Katherine Hepburn as Jo back in the 1933 first adaptation, or Elizabeth Taylor as Amy in 1949, or the 1994 adaptation with Susan Sarandon as Mrs. March and Wynona Ryder as Jo and a few up-and-coming youngsters such as Kristen Dunst, Claire Danes, and Christian Bale (as Laurie), Gerwig’s 2019 rendition is worthy to be the definitive version from now on as we head into the third decade of the 21st century.

The story is told from the point of view of Jo (Saoirse Ronan), an aspiring writer in New York at present. She reflects upon her path so far and reminisces on her family life, the cacophony of sisterhood in a busy household in Concord, MA, during the Civil War.

A single woman author pitching to publishers, Jo’s struggles parallel Alcott’s, a woman writer in a man’s world. As well, it would be apt to refer to Gerwig’s own challenges as a female writer/director in the present day movie industry.

The film is an alchemy of authentic, period backdrop and set design, stylish yet down-to-earth costumes, fused with a fresh and contemporary synergy. Credits go to the four young actors bringing to life the March sisters Meg (Emma Watson), Jo (Saoirse Ronan), Beth (Eliza Scanlen) and Amy (Florence Pugh) as they live through hard times while their father has gone with the Union Army as a volunteer chaplain. Their neighbour and friend Laurie (Timothée Chalamet) remains a perpetual presence in their lives. Their altruistic mother, Marmee (Laura Dern), holds the family together and extends her care to those in need outside their home. She is the example of love and heart for her daughters to emulate. Her screen presence is comparatively small though as Gerwig lets her girls shine, especially Jo and Amy.

A touch of surprise for me is that Gerwig has kept the historic period and setting authentic without adding any postmodern quirks to shock or provoke. Her script allows Alcott’s points to flow out through the dialogues and characters within context. This is not fiery feminism, but an intelligent depiction of the status of women in the historic period. It’s an updated version doing justice to Alcott’s astuteness in her social critique which is, alas, still relevant today.

Kudos to Gerwig in bringing out the youngest sister Amy, not so much as a foil to Jo, but a worthy rival. Amy proves that even though bratty and capricious as a child, she has grown up to grasp a clarity in seeing the worth of a woman in her society, which is, not much. The realistic and rich Aunt March (Meryl Streep) has a firm view of this: it’s a lost cause with Jo who says she will not marry, or Meg who falls for a poor teacher and has to curb her material desires, and Beth’s ill health, she has put her hope on Amy to marry rich to dig the family out of poverty. Amy who has lived with her Aunt for a while when Beth is sick with scarlet fever understands her own situation with a cool head as she articulates it to Laurie. Knowing that she doesn’t have what it takes to be a truly great artist––she whose stance is to be great or nothing––Amy sees her predicament clearly. It all comes down to economics:

And as a woman, there’s no way for me to make my own money. Not enough to earn a living or to support my family, and if I had my own money, which I don’t, that money would belong to my husband the moment we got married. And if we had children, they would be his, not mine. They would be his property, so don’t sit there and tell me that marriage isn’t an economic proposition, because it is. It may not be for you, but it most certainly is for me.

Virginia Woolf’s A Room of One’s Own comes to mind as she argues that economic disparity between men and women systemically disadvantages talented women to become successful.

In her research, Gerwig delves into Alcott’s other books as well as letters, thereby knowing her from a deeper perspective and not just from the novel Little Women. This understanding and appreciation is translated into the screenplay, capturing Alcott’s sharpness of mind and the sensitivity of her soul. Here’s a poignant scene as Jo pours out her heart to Marmee after rejecting Laurie’s marriage proposal. Has she made the right decision? In an interview, Gerwig says the words are all Alcott’s, from her book Rose in Bloom, except the last sentence added by Gerwig herself, equally brilliant, piercingly clear, and very Dickinson:

Women have minds, as well as just heart; ambition and talent, as well as just beauty. And I’m so sick of people saying love is all a woman is fit for. But I’m so lonely.

The March family has had their share of misfortune. But life can be beautiful for those who behold it as such and deem it meaningful to pursue one’s own dream or simply to enjoy one’s passion, no matter how short the allotment of time. Despite challenging personal and social reality, it’s a bliss to be alive, and yes, even better when one succeeds. Gerwig has effectively brought out this theme with both sensitivity and heart. The ending scene speaks to this truth. 

~ ~ ~ ~ Ripples

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