Little Women

Little Women’s classic status as a novel and adaptive work is only applicable to a few books. With Greta Gerwig’s take being the third over the last three years, it’s safe to say that the story is known by many at this point and has a massive following of fans. The same can be said for Gerwig also after her successful directorial debut Lady Bird was nominated for five Oscars, two for Gerwig herself. A flock of a-star actors came rushing to the front-line in the hopes of acting in Gerwig’s interpretation of Louisa May Alcott’s novel, and it may just be one of the best ensembles this year.

If you are unaware of this famed story, it’s set in the aftermath of the American Civil War focusing on the March sisters, Jo (Saoirse Ronan), Meg (Emma Watson), Beth (Eliza Scanlen) and Amy (Florence Pugh). It’s a simple but touching story, one that is propelled by love and bickering between sisters. That family is of the utmost importance, and to count yourself lucky for what you have rather than wish for more.With the likes of Meryl Streep, Laura Dern, Timothee Chalamet, Chris Cooper and Bob Odenkirk starring as the family or friends of these sisters as well.

With the start of the film beginning at the end of the book, with flashbacks then interspersed Gerwig very much makes her presence known with similar visual styles to her previous work on Lady Bird. But she is under no impression to try and alter, modernise or take away from Alcott’s legacy-defining novel; even having the title card feature Alcott’s name rather than her own. Their writing styles seem too perfect for each other, Gerwig clearly finding the most interest in Jo, a lady acting unladylike which can be found not just in Gerwig’s previous writing work but her own performances as well.

There are plenty of more differences aside from structure as well, most predominantly in the portayal of characters. Chalamet’s take on ‘Laurie’ is very different to the novel and one that seems to fit more in Gerwig’s world of Little Womenrather than Alcott’s. There are plenty of themes to the novel that can be analysed, with each adaptation finding something else to focus on. Gerwig’s version here however is clearly about the differences in love, and what can mean for each and every person.

It’s a compliment to the crew themselves for understanding the novel and making one of the most beautiful movies this year rather than a monotonous, costume-based period piece. Yorick Le Saux’s cinematography and Jess Gonchor’s production design collaborates together to make the colour really pop out on screen. Telling the difference between flashback and present can only really be made clear by the colour, with an orange-tinted glaze for the flashbacks contrasting to the cold blue present. Despite it working so well in every other place, the coldness of the present leaves you wanting to escape this time and go back to the deep-coloured past, something that makes sense thematically but not for the majority of audiences in a film running over two hours long.

Whilst a lot can be highlighted and taken away as the best bit about Little Women, my vote goes to Florence Pugh as Amy March. She gets into the character of a stroppy and jealous younger sister so well with the flashback scenes, causing the most laughs and gasps. Yet her character in the present is so unlike that now she’s grown up, as a sophisticated woman who understands how the world works for a bachelorette. With performances in Midsommarand Fighting with My Familythis year also, Pugh is sure to be this year’s breakout star.

Little Womenis a story that has been told countless times and although some may argue for why another adaptation needs to exist, Gerwig’s film gives enough evidence that a story like this needs to be retold to for each generation, finding something new in the pages every time.

8/10