I am, however, a huge fan of Greta Gerwig, and thought her directorial debut (2017's Lady Bird) was phenomenal. When it was announced that she was writing and directing a version of this story, I was immediately interested. When word of the production's cast, which includes the likes of Saoirse Ronan, Florence Pugh, and Laura Dern, hit the web, the movie became a must see.
After the big blockbuster hullabaloo of Star Wars, we needed something quieter. We needed something more subtle.
Also, my wife demanded that we go.
So go we went.
I. What Is It?
This is the story of the March sisters. It is the story of their love and loss and friendships. It is the story of women forging their way in the world.II. Domestic Epic
Greta Gerwig deserves all of the Oscars for this one. Her direction is flawless; the film moves in and out of three distinct time periods with ease and confidence, and, at 135 minutes, the film doesn't waste a second of its screen time and allows ample character beats and artistic opportunities. The writing, too, is impeccable; it feels both modern and period-specific, paying homage without sacrificing clarity.
The movie is a domestic epic: there aren't any flashy battles, or lurid sex. It's a simple story of a family of women trying to find their place in the world. There is plenty of drama there without blockbuster trappings. The movie shows us the March sisters tussling with love and sisterhood and societal expectations. Jo (Ronan) wants to forge her own way; Meg (Emma Watson) is enamored of pretty things, but falls in love with a man of simple means; Beth (Eliza Scanlen) is a do-gooder with a heart of gold; Amy (Pugh) is the youngest, who falls into the tutelage of the family's rich aunt in order to make something of herself (and get married to a proper gentleman). Each actor is given time to breathe and live on screen, without ever weighing down the narrative.
The production team does wonders making each time period specific and recognizable (we bop back and forth between their present, teens and childhood). The actors transform their physicality and their hair and makeup as well as their costuming. The result is stunning. You always know when you are, as a viewer, because of the color scheme and the way the actors are presented. It is a feat of filmmaking and acting and design that cannot go unnoticed.
The movie is both epic and intimate. The scale, traversing the March sisters' childhood into their adult lives, is breathtaking. But the emotion and heartfelt turns of story are wonderfully relatable.
Gerwig and her team have crafted a wonderful film that showcases the power of the medium.
But, ultimately, I think this is a film for women. Specifically, this is a film for young girls. This is a film that tries to show young girls that they can go out and make their way. They can forge their own path. They can be messy, and intellectual, and pretty, and funny. The March sisters, indeed the entire family and their friends, are all wonderful role models. It's OK to love, and OK to be petty, as long as you understand the power of forgiveness and the strength of working together.
This is the kind of boldly feminist movie that never feels like it preaches. It simply stands as a shining example to behold.
- The direction and writing are excellent: the world has a new star filmmaker in Greta Gerwig.The movie is a domestic epic: there aren't any flashy battles, or lurid sex. It's a simple story of a family of women trying to find their place in the world. There is plenty of drama there without blockbuster trappings. The movie shows us the March sisters tussling with love and sisterhood and societal expectations. Jo (Ronan) wants to forge her own way; Meg (Emma Watson) is enamored of pretty things, but falls in love with a man of simple means; Beth (Eliza Scanlen) is a do-gooder with a heart of gold; Amy (Pugh) is the youngest, who falls into the tutelage of the family's rich aunt in order to make something of herself (and get married to a proper gentleman). Each actor is given time to breathe and live on screen, without ever weighing down the narrative.
The production team does wonders making each time period specific and recognizable (we bop back and forth between their present, teens and childhood). The actors transform their physicality and their hair and makeup as well as their costuming. The result is stunning. You always know when you are, as a viewer, because of the color scheme and the way the actors are presented. It is a feat of filmmaking and acting and design that cannot go unnoticed.
The movie is both epic and intimate. The scale, traversing the March sisters' childhood into their adult lives, is breathtaking. But the emotion and heartfelt turns of story are wonderfully relatable.
Gerwig and her team have crafted a wonderful film that showcases the power of the medium.
III. Excellent Cast
Everyone in this movie is working. They are fully committed.
Laura Dern is, as always, incredible (her chemistry with Ronan makes for pitch-perfect casting); Chris Cooper is a delight as the kindly neighbor who befriends the Marches; Timothee Chalamet is a lovable roustabout; and Emma Watson is solid. Hell, even Bob Odenkirk shows up and is wonderful.
But the stars of the piece are Ronan and Pugh. Ronan's Jo is a beautifully complex woman who refuses to stay down when the world knocks her over. She is a natural leader, an indefatigable creative, and practically a force of nature. And yet Ronan finds vulnerability and makes Jo a compelling human being. She isn't immune to the trials and travails of the world. But she adjusts. And keeps going.
Pugh's Amy has one of the strongest arcs in the film, from bratty little sis to mature woman of society. Florence Pugh is a damn star. Amy is annoying, in the way that little siblings are, but you never hate her. She finds her way into modern society, but one feels that she isn't "selling herself out." Amy is a character that I imagine could very easily fall into single-dimensional territory, but Pugh, guided by Gerwig's sure writing and direction, never allows that to happen.
This cast is iconic and flawless, and I didn't see a weak link in the bunch.
Laura Dern is, as always, incredible (her chemistry with Ronan makes for pitch-perfect casting); Chris Cooper is a delight as the kindly neighbor who befriends the Marches; Timothee Chalamet is a lovable roustabout; and Emma Watson is solid. Hell, even Bob Odenkirk shows up and is wonderful.
But the stars of the piece are Ronan and Pugh. Ronan's Jo is a beautifully complex woman who refuses to stay down when the world knocks her over. She is a natural leader, an indefatigable creative, and practically a force of nature. And yet Ronan finds vulnerability and makes Jo a compelling human being. She isn't immune to the trials and travails of the world. But she adjusts. And keeps going.
Pugh's Amy has one of the strongest arcs in the film, from bratty little sis to mature woman of society. Florence Pugh is a damn star. Amy is annoying, in the way that little siblings are, but you never hate her. She finds her way into modern society, but one feels that she isn't "selling herself out." Amy is a character that I imagine could very easily fall into single-dimensional territory, but Pugh, guided by Gerwig's sure writing and direction, never allows that to happen.
This cast is iconic and flawless, and I didn't see a weak link in the bunch.
IV. For Our Time
This is a film for this moment. I enjoyed this movie very much, and I think it is a movie that anyone can watch and enjoy: it's PG, take your fucking kids.But, ultimately, I think this is a film for women. Specifically, this is a film for young girls. This is a film that tries to show young girls that they can go out and make their way. They can forge their own path. They can be messy, and intellectual, and pretty, and funny. The March sisters, indeed the entire family and their friends, are all wonderful role models. It's OK to love, and OK to be petty, as long as you understand the power of forgiveness and the strength of working together.
This is the kind of boldly feminist movie that never feels like it preaches. It simply stands as a shining example to behold.
V. Painterly
This film is a lush period piece. The costumes are incredible: lived in, lavish at times, but always believable and never cheap. The sets and locations are transportive: you will feel utterly in the world of this film.
There are shots that could be framed like paintings. Yorick Le Saux's photography is gorgeous and a pleasure to behold.
Alexandre Desplat turns in a score that fits the entire scope of the film. It rises to every demand and compliments all of the action.
It's a pretty goddamned movie, you guys.
There are shots that could be framed like paintings. Yorick Le Saux's photography is gorgeous and a pleasure to behold.
Alexandre Desplat turns in a score that fits the entire scope of the film. It rises to every demand and compliments all of the action.
It's a pretty goddamned movie, you guys.
Why You Should See It
- This is a family film: there is something for everyone to enjoy.
- It is impeccably made and a wonder to behold. In short, it's the kind of movie that reminds you how powerful movies can be.
- It is epic without being overlong.
Why You Shouldn't See It
In Conclusion
Miscellany
- Originally, Emma Stone was cast as Meg, but had to drop out due to scheduling conflicts.- Gerwig was 6 months pregnant during filmmaking. She went into labor two days after turning in a rough edit of the film.
- Sony was eager to produce a film version of Little Women, and had a few different scripts. They offered Gerwig an opportunity to write a draft, and, after the success of Lady Bird, offered her the opportunity to direct.
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