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Louisa May Alcott's 'Little Women' has long been one of my all-time favourite books and love 'Good Wives' just as much. The story is just so charming and fills me with joy and emotion every time, all the major events are memorable, the major relationships beautifully fleshed out and all the characters are interesting and well defined, as well as worth relating to. There is no wonder as to why it is so oft-adapted (and generally very well).
It is such a good story and the characters are so good that it remains timeless regardless of how many it is read and how often it's adapted. The latest adaptation, written and directed by Greta Gerwig, responsible for 'Lady Bird' (one of my favourites from its year), and starring Saoirse Ronan, Emma Watson, Meryl Streep and Laura Dern (the four biggest names), is the eighth adaptation. And along with the 1994 film with Winona Ryder and Susan Sarandon and the 1933 film starring Katharine Hepburn it is one of the best. Some may not be totally enamoured with it as an adaptation, as the chronology is different and there is a lot of back and forth, but on its own terms it left me and my sisters totally satisfied.
Will admit to not being completely grabbed at the start, with it being the worst case of the backing and forthing from Jo's point of view not always working. On the most part this aspect does work surprisingly well, but there were times where it was confusing and not always easy to tell straight away what was the past and what was the present and that was the case with this 'Little Women'.
Although the acting is outstanding nearly all-round, for me Louis Garrel was somewhat bland as Professor Bhaer. The character is not the most interesting character in 'Good Wives' in the first place, but with his role being so small here the character felt very underwritten and Garrel doesn't bring an awful lot to it.
These two problems are vastly outweighed by everything else and the best of everything else is fantastic. Three things are especially good. The production values are exquisite throughout, the costumes are evocative and the settings have a cosiness and charm that reminds me fondly of the period films of films from MGM in the 40s and 50s. The darker look of the present scenes contrast beautifully with the warm looking past ones. Just in case one is wondering, that is a compliment or at least to me it is. Alexandre Desplat is one of the best film composers working today and his score fits the film and the spirit of the story perfectly, the triumphant moments exploding with sumptuous joy and the emotional ones enhanced by the sorrowful-sounding orchestration. Ronan is quite sensational as Jo, one of her best performances to date in a performance that is sensitive and spirited.
Everybody else, Garrel excepted and that was to do with the limitations of the role, also excels. Have not seen Watson better than here, epitomising sympathetic charm even in her desiring of better. Florence Pugh is truly excellent as and the embodiment of older Amy which suited her more than when playing her when younger. While criticisms of her being less convincing as younger Amy where the character is more petulant and spoilt it is not easy not making younger Amy too bratty (especially in the burning of the book incident), it is not hard to see as to why this has been a breakthrough year for Pugh. Eliza Scanlan is a very moving Beth, especially later on, while Laura Dern is a sincere and loving Marmee, Timothee Chamalet is a charming Laurie and has great chemistry with all four leads (especially Ronan) and no other actor for Mr Laurence has made my heart melt more than Chris Cooper. Streep is a very amusing Aunt March.
Regarding the storytelling and character writing, 'Little Women' is a near triumph. The story is heart-warming and moving, although the chronology is different and sometimes coherence is affected the spirit and a lot of the major events of 'Little Women' and 'Good Wives' are intact and with full impact. The transitions from past to present and vice versa are mostly quite seamless. Loved the interaction between the four sisters, which charmed, amused and moved in equal measure throughout, while this adaptation is the best at including and fleshing out the triangle between Jo, Laurie and Amy. Jo and Beth's chemistry was incredibly heartfelt and for me the film's big tragedy was heart-wrenching (same with my sisters and everybody in the cinema in a packed auditorium male and female and of all ages), and having Jo's strength and struggles as a writer mirroring Alcott herself was a clever move and a valid one considering Jo was a personal character for Alcott. Almost all the characters are well defined, with strengths and flaws and how they dealt with their triumphs and struggles. Gerwig directs with great confidence and the script sparkles, the charm and poignancy of the story and Alcott's text never lost or jarring.
Summing up, a great film and what a way to spend New Year's Day. 9/10
9/10
