Cinemas have nothing more to offer now than superhero blockbusters, prequels/sequels and remakes of classics done countless times before is the common complaint of pretty much every cinema goer I speak to. The same could easily be said of the latest adaptation of Louisa May Alcott’s ‘Little Women’, given how many times it’s been adapted for the large and small screen since publication. The 1994 version that starred Winona Ryder is a favourite from my own childhood admittedly. Anyone could easily roll their eyes at this umpteenth attempt to make easy cash out of another literary classic, but there is nothing samey or dull about this adaptation: in fact, it’s one of the finest period dramas for years. Greta Gerwig, whose directorial debut was the superb mother/daughter saga ‘Lady Bird’, brings us her take on Alcott’s coming-of-age novel. Rather than taking the shine off previous adaptations, Gerwig’s unpretentious stance breathes new life as well as nostalgic tenderness into the novel – albeit a few minor tweaks to bring the story up to date with concerns of women of today – where in doing so she proves just how timeless Alcott’s story of sisterhood and growing up still is.
Following the lives of the four March sisters – beautiful Meg, headstrong Jo, romantic Amy and shy Beth – ‘Little Women’ charts their journey into adulthood, and, in the protagonist Jo’s case, the search for identity and fulfilment. Familiar the storyline may be, but Gerwig’s narrative divides itself between Jo trying to get her break as a writer in New York and growing up with her sisters in genteel poverty. The constant flitting may cause confusion for some, however, Gerwig’s non-linear format is cleverly reflective of the intermittent writing process as Jo pens her debut novel whilst being surrounded by reminders of her previous carefree life. The most minute object such as a letterbox key carries sentimental significance to the sisters’ childhood game, within it a lifetime of memories. The golden-tinted innocence and homely domesticity of the March sisters’ younger lives work as a distinct foil to the colourless, patriarchal harshness of the city. My only reservation with the film is the hurried development of Jo’s relationship with mentor Friedrich Bhaer, whose significance the screenwriters have remembered at the last minute as Jo all of a sudden realises the depth of her affection for a man she held animosity towards. A more gradual approach to this turn of the story would have worked better in correlation with Jo’s personal growth and allowance of herself to feel again following tragedy.
Where credit can be awarded for casting, which is possible now that BAFTA has introduced a new category to recognise excellence in this aspect of filmmaking, Greta Gerwig deserves heaps of praise for her near perfect choices of actors. Saoirse Ronan negotiates the fierceness and vulnerabilities of Jo’s personality with remarkable sensitivity and nuance. So affecting is her performance that I would put money on her finally bagging an overdue Oscar this year. The dashing Timothée Chalamet does impressive work as Jo’s best friend Laurie, capturing the pain of unrequited love with relatable sensitivity without being gushy. Laura Dern, Chris Cooper and James Norton are also considerably good in their limited screen presence. Gerwig has clearly paid close attention to the impact of family on the individual, as the ties Jo shares with her sisters are just as much the making of her as leaving the safe family haven to succeed as a writer. The feminist aspect is brought up to date with contemporary norms as Jo rebels against her publisher’s expectations and ardently commands control of her heroine’s destiny. Intelligently crafted and sensitively directed, ‘Little Women’ is a thoughtful drama anchored by an outstanding lead performance from Saoirse Ronan.
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