Greta Gerwig’s 2019 adaptation of the classic novel has been described as the Little Women for this generation, and it most certainly is. Gerwig has done it again with this new, yet authentic love letter to Louise May Alcott’s autobiographical story – one that transcends generations to be resolutely modern.
First of all, the entire cast are electric at every moment. This film is all about the characters, and each one (especially the girls) gets their moment. Saoirse Ronan simply shines, giving Jo a chaotic yet valiant energy that so brilliantly is Jo March. This Jo is empowered but frustrated and longing and it actually feels real. Florence Pugh, who delivers another standout performance, elevates Amy March’s character to something so authentic, her arc is so subtle yet so great. And of course, Timothée Chalamet is stellar as Laurie – a perfect mix of soulful, spirited and broody. His chemistry with Ronan is evident and feels quite contemporary on screen but not out of place. Also, worth mentioning are the other two sisters, Meg (Emma Watson) and Beth (Eliza Scanlen, who played the emotion especially well), Marmee (Laura Dern), Aunt March (Meryl Streep) and Mr Laurence (Chris Cooper), which is almost the whole cast, but they really are that good.
Every character develops immensely, but it is portrayed in such a believable way by the incredible cast. Gerwig makes some bold story decisions while still staying true to the source material which sends the emotional impact of the film up a notch, reshuffling and fleshing out parts, with an especially satisfying ending. The film begins almost at the end of the story, and we meet the March sisters as women. The rest of the film flashes back and forward as they make their way to the present. This non-linear format shifts the focus of the film clearly on the growth of the young women. Jo writes and wants to make a living out of it, but her Aunt March (Meryl Streep) insists on the importance of marrying well. Jo meets and develops a connection with the wealthy and handsome Laurie (or Teddy, as she affectionately nicknames him). Their relationship grows over the years, and Teddy and his uncle form friendships with all of the March women. Young Amy is an artist and yearns to be just like her sister Jo. Meg, the oldest, wants to settle down with a family, and enjoy the luxuries her wealthier friends have. Beth struggles against sickness and has a talent for music. With her husband absent, Marmee occasionally loses patience but is always a loving and encouraging mother who wants nothing more than the happiness of her daughters.
In their own way, every character is angry at the world they’re in and struggles against the barriers they face. Gerwig has made a story of four girls growing up in the 19th century be totally relevant. She presents modern depictions of the women while keeping historical realism. Subtle nuances and layers of meaning from the book have been teased out and placed centre stage.
The whole feel of the Little Women is free, youthful and warm. Yorick Le Saux’s cinematography is simply stunning, aiding the structure of the storyline through slight stylistic differences. Not to mention the stirring score, which is almost always present but feels like an extension of the world, and the costumes, which are beautiful, undone, full of movement and grow with the characters.
This film is glorious. That’s truly the best word to describe it. I couldn’t stop smiling almost the whole way through. And if I wasn’t smiling, I was struggling not to cry. I think that every woman will be able to see themselves in this. The surprising comedy, the depiction of sisterhood and the emotional rollercoaster that this film is makes it well worth watching. Gerwig takes viewers through the highs and lows of womanhood with such warmth, passion and daring. This movie reaffirms that women can achieve what they want, without others telling them what they should want.
Amelia (17) mentored by Jessica Ellicott