During a Turning Point in America, Four Young Woman Find Themselves

From left: Emma Watson, Florence Pugh, Saoirse Ronan,
and Eliza Scanlen in "Little Women"
Photo Credit: Imdb.com 

Two years ago, writer-director Greta Gerwig brought audiences the coming-of-age story, “Lady Bird,” in which she used her solo directorial debut to tell the semi-autobiographical story of her life growing up as a teen in Sacramento in the early 2000s.  It told a humorous and emotional account of a young woman traversing the difficulties of high school while trying to achieve the goals that will help her get out into the world.

Gerwig now helms another coming-of-age story, but from a much different era, with “Little Women,” the seventh film adaptation of Louisa May Alcott’s 1868 novel of the same name.  With the help of her screenplay and direction, as well as an exceptional cast, Gerwig brings this moving and relevant story to thrilling life.

As the Civil War is fought, the March sisters live lives that are full of ambition, with Josephine (Saoirse Ronan) wanting to be a writer, Margaret (Emma Watson) desiring to be an actress, Amy (Florence Pugh) striving to become a painter, and Elizabeth (Eliza Scanlen) endeavoring to be a pianist.  While they’re expected to marry and raise families, they will do what they can to make their dreams come true.

Ronan, who collaborated with Gerwig for “Lady Bird,” Pugh, Watson, and Scanlen all deliver spirited performances as they display their characters’ strong enthusiasm that absorbs us right away as we follow the journeys of the March sisters and get a view of the artistic creativity that each of them possesses.  Whether it’s Josephine running excitedly down the streets after selling one of her stories, Margaret creating a play, Florence studying her canvas, or Elizabeth sitting down at a piano to make music, we see how much their talents mean to them and their determination to form their own paths in the world.  Through their laughter and their tears, this quartet of actresses makes us feel the depth of their characters’ experiences and how much they value their family and aspirations.  All of this makes the dynamic between the four sisters a joyful bond to watch, seeing the care and love that they have for each other and making sure that they encourage each other to do what’s best.

In terms of a supporting cast, you couldn’t ask for a better one for bringing this classic novel to life.  There’s Laura Dern as the March sisters’ mother, Marmee; Timothée Chalamet, who appeared alongside Ronan in “Lady Bird,” as Theodore Laurence, a neighbor and childhood friend of the March sisters; Meryl Streep as Aunt March; Tracy Letts as Josephine’s publisher, Mr. Dashwood; Bob Odenkirk as Father March; James Norton as Theodore’s tutor, John Brooke; Louis Garrel as Friedrich Bhaer, a professor whom Josephine meets when in New York City; and Chris Cooper as Theodore’s grandfather.  All of these characters help provide a well-rounded view of the lives of the March sisters and show how each of these supporting characters impacts the siblings in one way or another.

The screenplay by Gerwig tells its story in a nonlinear fashion, cutting between 1861 and 1868.  By doing so, there’s more of an impact as we transition back and forth between the more idealistic times shared by the March sisters and the times that bring them tribulations.  The drastic changes that we see from the earlier parts of the narrative to the later parts show a great emphasis on the optimism that’s felt among Josephine, Margaret, Amy, and Elizabeth, which later on leads to them living lives that become much more complicated.  The script’s terrific use of the abundance of characters makes it easy to become invested in the loving relationships between all of them, relationships that soon become much more difficult as time goes on, and Gerwig is adamant to touch upon all of the emotional effects.  Part of the success of the screenplay comes from the accomplished editing by Nick Houy, who collaborated with Gerwig on “Lady Bird,” and his work in this film gives the story smooth jumps between 1861 and 1868, with a few of the finest edits coming when we switch between scenes that play out with some similarities across time.     

The cinematography by Yorick Le Saux offers stunning views of the beautiful New England scenery, showing views that would capture the imagination of any artist, be they a writer, an actress, a painter, or a pianist, and we see how much these grand sights can inspire the March sisters as they see the world around them and the possibilities that it can offer.

As a director, Gerwig exhibits a strong attention to the details of the Civil War era, giving you the feeling of watching a classical Hollywood production.  Whether it be a lavish party or the warmth of Christmas morning, Gerwig works her hardest to make sure that the gorgeousness of the aesthetic details throughout the film transports you to the era that’s depicted in the film.  However, this is just part of what makes Gerwig’s filmmaking a memorable sight, as the most noteworthy aspect between this movie and “Lady Bird” is how Gerwig shows that, despite the massive differences between the time periods where these stories take place, the concept of coming-of-age is, at its core, the same from century to century.  She shows the fun and hardships that can come with trying to figure out who you are, taking us on every step of the way as the March sisters set out to become the people who they want to be.

“Little Women” has been around for a little over 150 years, but there’s still a lot that it can teach us because it’s not only a story that can lift you up with its inspirational characters, but it’s a story whose themes transcend time.   

Grade: A