Review Summary: A strong, energetic and engaging reboot.
From the time this new version of the Louisa May Alcott book was announced, everyone was excited about the prospect of recent Oscar-nominated director Greta Gerwig (Lady Bird) taking this movie on. Of course, with six other film versions dating all the way back to 1917, pressures were high. How can she recreate this story for a new generation?
But, it seems Gerwig, Sony, and the entire production crew have succeeded in creating something really good here. They've remade the original story with exuberance, an old-fashioned flair in its story and look, and much-needed energy in its performances (as well as undeniable chemistry between its leads). It's an ambitious take that manages to keep viewers engaged throughout the 135-minute runtime.
The leads here are pretty great. Saoirse Ronan is definitely worthy of the Best Actress buzz she's been receiving. She nails Jo down to a T, especially her hard work ethic and leading/tomboy like personality. At the same time, she gives Jo a surprisingly tender side that memorably comes to light at the end. Florence Pugh is terrific as Amy, and convincingly portrays her as a teenager and young adult. Emma Watson (Harry Potter and the recent Beauty and the Beast remake) is sweet and sincere as Meg, while Eliza Scanlen (who gets the least to do) shines in the scenes she's given as Beth.
In supporting roles, Laura Dern is pitch-perfect casting as Mama March. She carries a sincerity and loving heart that reminded me a lot of Karen Grassle's work in the Little House on the Prairie TV series. Timothee Chamalet and a nearly-unrecognizable Chris Cooper play some very kind and believable neighbors. And 4-time Oscar winner Meryl Streep delivers laughs and hard knocks as the stern and somewhat cold-hearted Aunt March. On the downside, the only actor that doesn't seem to gel is Tracy Letts as a not very kind publisher. Thankfully, he only appears a couple of times.
Gerwig takes a very unique route in retelling this story. She goes back and forth between the sisters grown up in 1868 and as younger women seven years before. This plot device starts off confusing and isn't exactly seamless. However, it starts to click about 45 minutes in and the time switching starts to successfully connect events very well. I don't think I've seen a movie move back and forth through time so quickly and so much like this. And while it isn't an always-successful tactic, it works more and more as it goes. And connecting the dots to the ultimate publishing of the Little Women book itself is brilliantly executed.
And her script wisely and nicely sticks to the old-fashioned and down-to-earth values of the world of Alcott's novel. In addition to that, there are convincing and well-written emotional moments throughout the picture. Gerwig creates several intimate character moments that stand out and really help us empathize with each of the women; as well as their struggles, their desires and their dreams.
But its' not just the screenwriting here that impresses, everything here (beginning with the old Columbia logo) evokes the time period superbly well. From the simple and realistically-toned cinematography (by Yorick Le Saux), to Jacqueline Durran's detailed costumes (each of the women has a distinct colorful style), to Jess Gonchor's terrific and inviting production design, everything here feels very inviting and friendly. It very successfully highlights the beauty of America outside of the Civil War during the 1860's. Alexandre Desplat's score complements the time period nicely too.
In the end, this version of Little Women is one of the most engaging movies of the year. While it has its' moments of confusion, Gerwig bravely keeps the movie's nose clean in yesteryear values, while creating a character-driven drama that hooks and doesn't let go.
My Score: 8.7/10
Content Concerns for Family Viewing:
Rating: PG (for thematic elements and brief smoking)
Recommended Age Range: ages 7 and up (depending on child's patience level and attention span)
Language: Other than one apparent use of "oh my g**" (out of an unexpectedly pleasant surprise for the girls), nothing profane. Someone says "Christopher Columbus!" and "that's capital!"
Adult Content: Innocent romantic discussions and confessions of love. A neighbor is asked to help button Amy's dress, and he stares at her back while he does so. The same neighbor is seen at one other time putting his head on a woman's (clothed) abdomen and his legs on another woman at a party. Characters kiss. We see a few low-cut, cleavage-revealing dresses at a party.
Violence: Amy falls through the ice on a pond (we don't see the action, but we see her trying to grasp onto the edge to save herself; a branch is used by Jo to try and save her). Someone contracts scarlet fever, and later dies. Someone has her foot hardened in cement. Someone twists her ankle and is seen limping. Someone is implied to have been hit in the hand by a teacher as punishment (we see the minor wound). Hair is accidentally burned off at one moment. The girls throw pillows, friendly punch each other, etc.
Drugs/Alcohol: Champagne and beer are seen at parties. Laurie (the girls' neighbor) is seen drunk at a party (but is reprimanded for it). Drinking is discussed in other scenes. A publisher smokes a cigar in two scenes.
Other: Aunt March is very selfish and rude, with multiple derogatory and disgraceful comments aimed at all of her nieces as well as their love interests. She also believes women cannot be successful outside of marriage (unless they are rich like her). At one point, Amy engages revenge on Jo by burning her novel she worked hard on. And in response, Jo says she'll "never forgive her!" In response to being turned down by a woman, Laurie parties and acts disrespectfully to others (but as mentioned earlier, he is confronted for this and he shows a change of heart later). The publisher is a little harsh towards Jo's novels, saying morals don't sell and wants the book to be more scandalous.
