Little Women

Greta Gerwig began work on Little Women while she was working on her 2017 film Lady Birdwith Saoirse Ronan. It would be the seventh adaptation of the novel by Louisa May Alcott making it one of the most adapted fictional books of all time. To help differentiate this version from the previous adaptations she used other writings from Alcott on top of the novel to flesh out the tone and the characters as well as to give it more of the flavor of Alcott’s personal writings. Greta also tossed out the basic layout of the novel and instead chose to play around with the timeline so that her version of the film would have more of a focus on the main characters as adults rather than so much time on their youth. This gives us a better sense of who they are early on rather than expecting us to learn as we go. This makes the film a unique variation on the classic novel while still staying mostly true to the source material.

This was a passion project of Greta Gerwig who, at the time, had not directed a studio film before. Her debut, Lady Bird, had garnered her Oscar notice but she wasn’t on anyone’s list to direct a film such as this. When word got out that Sony Pictures was working on a new adaptation she reached out, throwing in her hat for a chance to work on it. She was hired initially as just the screenwriter before getting bumped up to director, too, based partially on the strength of her script as well as the critical praise garnered from Lady Bird. What she turned in was a script about growing up and losing some of what made you you as a child. So much of ambitions and dreams gets stomped out of people as they grow up either from maturity or necessity and Greta’s treatment of the novel brings that reality front and center. 

The story opens with Jo March (Saoirse Ronan), a teacher in New York City, visiting an editor, Mr. Dashwood (Tracy Letts) who agrees to publish a story she has written.  Her sister Amy (Florence Pugh) is in Paris with their Aunt March (Meryl Streep). She attends a party with their childhood friend and neighbor, Laurie (Timothée Chalamet), but is upset about his drunken behavior. He in turn mocks her for spending time with wealthy businessman Fred Vaughn (Dash Barber). He once proposed to Jo but she turned him down, reasoning that they would make a lousy couple but now she is rethinking how this decision has left her feeling lonely. Meg (Emma Watson) has married out of love to a poor tutor and now struggles with not having the finer things in life the way some of her friends have. Lastly is the musical Beth (Eliza Scanlen) who has a love for the piano and whose playing has charmed the elderly Mr. Laurence (Chris Cooper). His own daughter loved to play but has since died and, hearing the piano being played again moves him and he gives it to the youngest March girl as a gift. The three older sisters are brought back home by the sudden illness of Beth who has been diagnosed with Scarlet Fever, a condition that is often fatal. 

With a title like Little Women it is easy to dismiss this film, and the book before it, as strictly for the female audience. That is far from the case. This is a story about family, sacrifices and the ramifications of one’s choices. Jo chooses to avoid relationships in favor of pursuing her writing career. Laurie is charmed by her and proposes marriage but she pushes him away, not wishing to ever marry. Later, while living in New York City, a man who is interested in her, Friedrich Bhaer (Louis Garrel) reads some of her work and critiques it harshly; she is hurt and storms off angrily. Later, he will follow her back to her childhood home in an ending that has been altered from that of the novel. Purists will we dissatisfied with this change but it is in the spirit of Louisa May Alcott and fits this film well. 

Greta has taken the straight forward narrative of the novel and thrown it into a blender, mixing the timelines up trusting that audiences will be able to keep track of the two periods based on some visual clues. There is only a handful of years between the two timelines and the same actresses play themselves at both ages so it does require paying attention to ascertain where in the story we are at. Sometimes this jumbling of times seems to serve no purpose but occasionally it helps line up the themes better than a straight forward telling would. 

For most people my age the 1994 version of this story is the definitive one, the one remembered most fondly, and the question then would be: “Do I really need another adaptation?” In this way I am fortunate as I have not seen the 1994 version and probably won’t get around to it anytime soon. There is another from 1933 that was also a Best Picture Oscar nominee and someday soon I will be writing about that one, too. Maybe then I’ll check out the 1994 version and make more direct comparisons between the three. Based solely on my experience with the novel and now this film I can personally say I like what Greta Gerwig has done with the chronology. It helped me get a sense of the four girls and how certain choices led them to where they end up later in their story. That’s something missing in the book that made it a bit more challenging to get a grasp on their different characters.

Greta brings enough uniqueness to this adaptation to make it worthwhile seeking this one out even for those familiar with the other versions. Saoirse Ronan brings it to life, though, and, like the book, is the central focus. Her sorrow and stark realization when she utters the words, “I am alone” is palpable and completely relatable and probably earned her the Oscar nomination for that moment alone. Saoirse commands our attention whenever she is on screen and none of the other girls comes close to that level of complexity. Florence Pugh has some good moments, too, especially when she’s playing off of Timothée Chalamet, but this really isn’t her film. On the outside it looks like an ensemble film but it really is all about Jo and so it is only fitting it end with her story being wrapped up in a happily ever after. To quote the editor, Mr. Dashwood: “Romance sells.”

Academy Award Nominations:

Best Picture: Amy Pascal

Best Actress: Saoirse Ronan

Best Supporting Actress: Florence Pugh

Best Adapted Screenplay: Greta Gerwig

Best Costume Design: Jacqueline Durran (won)

Best Original Score: Alexandre Desplat

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Release Date: December 25, 2019

Running Time: 135 Minutes

Rated PG

Starring: Saoirse Ronan, Emma Watson, Florence Pugh, Eliza Scanlen, Laura Dern, Timothée Chalamet, Meryl Streep, Tracy Letts, Bob Odenkirk, James Norton, Louis Garrel and Chris Cooper

Directed By: Greta Gerwig