Little Women (2019)

Synopsis: The story of the four March sisters, Jo (Saoirse Ronan), Meg (Emma Watson), Beth  (Eliza Scanlen), and Amy (Florence Pugh) who live in Concord, Mass., during and after the Civil War.

Much like 'A Star is Born' (originally a story by William Wellman), Louisa May Alcott’s 'Little Women' has received multiple screen adaptations since its earliest screen incarnation under George Cukor’s hand in 1933 with Katherine Hepburn in the lead.  Although I can’t recall that version nor Mervyn LeRoy’s 1949 version with Elizabeth Taylor and only very vaguely recall Gillian Armstrong’s 1993 edition made when Winona Ryder still had a promising career according to my notes it is the best version. I’ll say upfront that Greta Gerwig’s clever 2019 version is at least its equal.

I say clever because Gerwig makes the major limitation of the film, the fact that is based on a mid-nineteenth century novel about four teenage girls into its principal virtue which as her film makes explicit in a late scene was indeed the same limitation Alcott's novel had in its day when it would have been rejected by its male publisher, Mr Dashwood (Tracy Letts), but for the enthusiasm of his similarly teenaged daughters. Which is to say that Little Women 2019 is a film for women (teenage girls may have to with for the Clueless  equivalent) rather than men and particularly so if those women grew up with sisters.  

Belonging to more or less the same demographic as Mr Dashwood, whilst admitting Gerwig’s remarkably assured follow-up to what I felt was her considerably over-rated debut, Lady Bird, in 2017 is a very impressive production I could find little of interest in the witterings of four teenage girls in the days of Civil War America, a prattling compounded by Gerwig’s ill-advised choice of a ping-ponging timeframe that jumps hither and thither for no good reason that I could see. Fortunately in the latter stages the girls quieten down as the inevitabilities of life take their toll and the story develops a good deal of emotional affect.

Unsurprisingly Gerwig chooses to give a feminist reading to Alcott’s novel not only emphasizing the four girls’ individual talents and independence but also the strengths of their mother Marmee (Laura Dern, nicely demonstrating that she can give more than tough love) and in a winning cameo their maiden aunt (Meryl Streep). In the most radical revision Gerwig incorporates Alcott’s own life into the story merging the real life woman with her fictional heroine.

Although perhaps in places Gerwig’s feminist agenda feels a little too contrived she never makes Alcott her mouthpiece. The women are all sympathetic, even crotchety old Aunt March, and the performances are uniformly good with Ronan (who starred in Lady Bird) an empathetic Jo. Equally the men including the girls’ father (Bob Odenkirk), a handsome and wealthy young neighbour (Timothee Chalamet) and his guardian (Chris Cooper). Meg’s penniless tutoring husband (James Norton), and an immigrant teacher Jo meets in New York (Louis Garrel) are gentlemanly to a fault.

The combination of splendid production values, scenic locations beautifully rendered by cinematographer Yorick Le Saux, engaging characters and strong performances all tied up with an easily affirmed message should deliver a steady audience to Gerwig’s film, at least from the female half of the population.

FYI: For a very different take on female authorship in the 19th century, check out François Ozon's Angel (2007).

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