4/5 Stars
By Anna Husted EBS FILM CRITIC
“I want it to be great, or
nothing,” says Amy March (Florence Pugh) regarding her painting in director
Greta Gerwig’s 2019 adaptation of “Little Women.” Surely Gerwig was channeling
Amy’s sentiment because “Little Women” is—while taking a different ending than
the book—great.
Louisa May Alcott’s 1868 coming-of-age
novel is about four sisters during the Civil War, each with their own worldview
despite being under their mother’s tender care. Meg (Emma Watson) is the oldest
and most levelheaded, Jo (Saoirse Ronan) is the writer and feminist, Amy is
destined for great things, and Beth (Eliza Scanlen) is the caregiver.
Gerwig tells the story in
flashbacks mostly from Jo’s perspective rather than telling the story
chronologically as Alcott does. This time-hopping sensation gives the film a modern
identity and in the end gives life to the sisters where the novel ends in the
author succumbing to the times.
“Little Women” has been adapted for
the screen five times, each adaptation more thoughtful than the last. Gerwig’s
adaption, however, was the first one where I liked Amy March. Part of this is
due to Pugh’s acting range, giving her character depth of soul and not just
selfish tears and complaints. The other part is Gerwig’s dialogue: she teeters
between 19th century proper English and unorthodox modern American
English.
For example, when Amy talks about
love to their childhood friend, Laurie (Timotheé Chalamet) she says, “It isn’t
something that just happens to a person.” Their attitudes toward each other are
informal, even in a formal setting. At another point, Laurie attends a New
Year’s party drunk and Amy yells at him in public. These realistic
sensibilities give “Little Women” a fresh life.
Each sister is masterfully shot: Low
angles frame Jo as she navigates New York City and her new role as family
provider, while Beth is shot in close-ups and soft light as she cares for their
impoverished neighbors. Gerwig’s camera and her ability to get her actors to
speak and move naturally makes her style light and uninhibited.
By far, Gerwig’s direction is what
gives this adaptation its charm, but not without Ronan, Pugh, and Chalamet does
this version of “Little Women” work. Pugh is not afraid to dominate the screen,
even overshadowing strong-featured, young heartthrob Chalamet. They compliment
each other’s movements well. Chalamet’s Laurie is abashed and fluid, while
Pugh’s Amy is strong-willed and confident. It’s no coincidence these two actors
have appeared only in great films over the past three years.
While much has been said about
Ronan’s dominance as the lead character Jo, I would argue that this version of
“Little Women” belongs to Pugh’s Amy. Amy has never been written with the
complexity that she has here, shown through her differing relationships with
each character.
“Little Women” is my favorite movie
of 2019. I’m still catching up with films that may bump it from the top spot, but
that’s unlikely. Gerwig and her cast bring passion, love and weightlessness to
this timeless story.
“Little Women” is now showing in
theaters.
Anna Husted has a
master’s in film studies from New York University. In Big Sky she can be found skiing
or at the movies at Lone Peak Cinema. When not gazing at the silver screen or
watching her new favorite TV show, she’s reading, fishing or roughhousing with
her cat, Indiana Jones.
