Little Women (2019)

Directed by: Greta Gerwig | 135 minutes | drama, romance | Actors: Saoirse Ronan, Emma Watson, Florence Pugh, Eliza Scanlen, Laura Dern, Timothée Chalamet, Tracy Letts, Bob Odenkirk, James Norton, Louis Garrel, Jayne Houdyshell, Chris Cooper, Meryl Streep, Rafael Silva, Mason Alban, Emily Edström, Maryann Plunkett, Hadley Robinson, Lonnie Farmer, Charlotte Kinder, Ana Kayne

‘Little Women’ (2019) is based on Louisa May Alcott’s classic coming-of-age novel (published in the Netherlands under the title “Under mothers wings”). Greta Gerwig’s adaptation isn’t the first film adaptation of the story Alcott wrote, and it probably won’t be the last, but it won’t be off the top for a while.

‘Little Women’ is about the March family, mother and four daughters. They live in Massachusetts in the nineteenth century. The eldest daughter, Meg (Emma Watson), is a young woman whose acting talents are reflected in the plays written by her younger sister Jo (Saoirse Ronan). Jo is a tomboy, an independent and boyish type. She dreams of becoming a published writer. The two young women work to support the family. Father March (Bob Odenkirk) is away from home because of the American Civil War. The other two sisters, Beth (Eliza Scanlen) and Amy (Florence Pugh), are too young to work, but Beth delights everyone with her piano music. Though sickly, Beth is the most contented sister. She knows how to put a positive spin on everything. Amy, the youngest, is also the most spoiled. She can draw beautifully and longs for a life of beautiful, expensive dresses and elegant parties. Finally, Mother Marmee is committed to the less fortunate inhabitants of the village and is a perfect role model for her daughters, precisely because she lacks perfection.

The girls’ traits actually become clear from the events of one night: Meg and Jo go to a party at the rich neighbor, Mr. Laurence (Chris Cooper). Amy begs to come, but Jo refuses. Amy swears that Jo will pay for it. At the party, Meg enjoys dancing and Jo is annoyed by the superficial chatter and socializing. Fleeing the crowds, she meets the charming Laurie (Timothée Chalamet), the grandson of the master of the house. A friendship is immediately formed. Meanwhile, Amy keeps her promise: Jo’s manuscript for a book disappears into the fireplace, an almost unforgivable act. Beth soothes the heated temper.

Unlike the book, which reveals the events that shape the girls’ characters to the viewer in chronological order, Gerwig’s version of “Little Women” jumps back and forth in time. From the childish bickering in the March house, we can easily move seven years further into the future. And we see how the women individually deal with the difficulties that life presents, their struggle for a better future and the realization of their ambitions. Jo works as a teacher in New York, meanwhile working hard on her writing career (note the ridiculous demands the editor makes of her stories). Meg is married for love, but that means turning over every cent. Amy seems closest to her youthful dream of the future, but she too doubts her abilities.

The friendship between Jo and Laurie is an important element in the story, but perhaps what leaves a mark on the film even more is Gerwig’s choice to focus on Jo’s experiences as a writer (and thus the biographical part of Alcott’s book). Her balancing act between career and family keeps the viewer glued to the screen and Ronan is phenomenal in her portrayal.

Gerwig gets the most out of her great cast anyway, there is no less performing actor or actress to be appointed. Also Meryl Streep as the old Aunt March should not go unmentioned. The story feels both authentic and modern: and with this version Gerwig proves that Alcott’s book is as relevant today as it was when it was published in 1868/1869. Themes such as independence, feminism and making unconventional choices are still important to discuss today. Cinematography, costumes, the sets and the music of Alexandre Desplat: it’s all gold. ‘Little Women’ is heartwarming, compelling and unforgettable.