Greta Gerwig's LittleWomen doesn’t just brim with life, it brims with ideas about happiness, economic realities, and what it means to push against or to hew to the expectations laid out for one's gender
From left, Emma Watson, Florence Pugh, Saoirse Ronan, and Eliza Scanlen in Little Women. Photo: Wilson Webb/CTMG, Inc. A century’s worth of artists have tried to leave their mark on Little Women. Louisa May Alcott’s novel has spawned Broadway productions and anime series, contemporary reimaginings and television musicals.
The biggest choice Gerwig makes is to cut Alcott’s narrative into pieces and rearrange it by theme rather than chronology, using color grading to distinguish the past from the present. But her boldest, by far, has to do with how the film elevates Amy, the youngest and, traditionally, the least loved of the four March sisters. The rambunctious Jo, the iconoclast of the family, has always tended to be seen as the story’s driving force.
They are the ambitious siblings, Jo and Amy, but Little Women gives equal weight to the domestic goals of Meg , and to the just developing ones of the shy Beth , as well as to the guidance of their kindhearted mother Marmee and haughty Aunt March .
And those characters aren’t always guaranteed to get the endings we want for them — not even when it comes to a certain wild-haired boy next door, embodied by Timothée Chalamet in a performance bent on breaking a million teenage hearts. Gerwig ingeniously wrangles Little Women’s conclusion into one that carries less of a sting.
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