*****
With their father at war, sisters Meg, Jo, Beth and Amy navigate the difficulties of growing up, bumping into some colourful characters along the way.
For many generations of readers, and hopefully many more to come, Little Women has been a treasured tale. For me, first gifted the audio book and then the novel, it's a story that instantly reminds me of my childhood. When I came to study the text for my degree, the class ubiquitously agreed that it was a nostalgic treat to revisit the book again - perhaps why so few of us chose to analyse it for our end-of-module exam. Sitting in a cinema, packed with women of all ages, that same sense of nostalgia washed over me as Greta Gerwig deftly and sensitively interwove two time frames (the youthfulness of the Little Women story with the bittersweet nature of the sequel, Good Wives), whilst simultaneously reintroducing me to some of my favourite literary creations.
Let's start with the elephant in the room - Greta Gerwig's directorial Oscar snub is surely one of the biggest travesties to hit the wildly out of touch Academy Awards in recent years... Although it would probably be too much to hope that they would nominate both a Korean and female director in the same year. Taking on one of the world's best-loved books is always going to be risky, especially when there's already a much-adored adaptation already out there (the 1994 version with Winona Ryder as Jo), but Gerwig triumphs at every turn, from the different-yet-faithful split time frames to the warm, but never saccharine, depiction of the March girls. Whilst fiery Jo (here depicted by the ever-wonderful Saoirse Ronan) is undoubtedly the most multi-faceted sister in the novels, Gerwig gives each sibling a believable voice in her film. Meg (Emma Watson), oft-overlooked for her desire to marry and have children, is transformed into far more than just a 'wife' figure with her touching declaration: 'Just because my dreams are different from yours doesn't make them any less important'. Similarly, Amy (the outstanding Florence Pugh), probably the least likeable in the novels, is portrayed far more sympathetically so that we are able to understand her choices with far less judgement. These are all careful directorial choices that make the movie nothing short of a feminist anthem - women can have different ambitions, but that doesn't make them any less viable.
It's not just the acting and direction, however, that makes this latest adaptation such a delight. From the homely, lived-in feel of the March household, to the thriving streets and sumptuous costumes, each frame is a visual treat. Even the sisters, who appear to all dress similarly in their youth, showcase subtle and charming differences in their dress that illustrates their unique characters, from knitted polka dot socks to intricate shawls. Returning to the March home again feels familiar and welcoming - the set designers have created a space that mirrors the quirky lifestyle of the March family, whilst also demonstrating their relative poverty.
Sometimes, you see a film that is so perfect in its entirety that it simply envelopes you in a warm glow. Even when I had a quiet sob, it wasn't that I felt sad, it was that I felt happy to be in the company of such a lovely, sensitive and intelligent movie. Under the guidance of a talented director, the cast flourish to deliver a modern reinvention of a classic tale that's simply delightful and life-affirming.
For many generations of readers, and hopefully many more to come, Little Women has been a treasured tale. For me, first gifted the audio book and then the novel, it's a story that instantly reminds me of my childhood. When I came to study the text for my degree, the class ubiquitously agreed that it was a nostalgic treat to revisit the book again - perhaps why so few of us chose to analyse it for our end-of-module exam. Sitting in a cinema, packed with women of all ages, that same sense of nostalgia washed over me as Greta Gerwig deftly and sensitively interwove two time frames (the youthfulness of the Little Women story with the bittersweet nature of the sequel, Good Wives), whilst simultaneously reintroducing me to some of my favourite literary creations.
Let's start with the elephant in the room - Greta Gerwig's directorial Oscar snub is surely one of the biggest travesties to hit the wildly out of touch Academy Awards in recent years... Although it would probably be too much to hope that they would nominate both a Korean and female director in the same year. Taking on one of the world's best-loved books is always going to be risky, especially when there's already a much-adored adaptation already out there (the 1994 version with Winona Ryder as Jo), but Gerwig triumphs at every turn, from the different-yet-faithful split time frames to the warm, but never saccharine, depiction of the March girls. Whilst fiery Jo (here depicted by the ever-wonderful Saoirse Ronan) is undoubtedly the most multi-faceted sister in the novels, Gerwig gives each sibling a believable voice in her film. Meg (Emma Watson), oft-overlooked for her desire to marry and have children, is transformed into far more than just a 'wife' figure with her touching declaration: 'Just because my dreams are different from yours doesn't make them any less important'. Similarly, Amy (the outstanding Florence Pugh), probably the least likeable in the novels, is portrayed far more sympathetically so that we are able to understand her choices with far less judgement. These are all careful directorial choices that make the movie nothing short of a feminist anthem - women can have different ambitions, but that doesn't make them any less viable.
It's not just the acting and direction, however, that makes this latest adaptation such a delight. From the homely, lived-in feel of the March household, to the thriving streets and sumptuous costumes, each frame is a visual treat. Even the sisters, who appear to all dress similarly in their youth, showcase subtle and charming differences in their dress that illustrates their unique characters, from knitted polka dot socks to intricate shawls. Returning to the March home again feels familiar and welcoming - the set designers have created a space that mirrors the quirky lifestyle of the March family, whilst also demonstrating their relative poverty.
Sometimes, you see a film that is so perfect in its entirety that it simply envelopes you in a warm glow. Even when I had a quiet sob, it wasn't that I felt sad, it was that I felt happy to be in the company of such a lovely, sensitive and intelligent movie. Under the guidance of a talented director, the cast flourish to deliver a modern reinvention of a classic tale that's simply delightful and life-affirming.
Comments
Post a Comment