Little Women Review

 
PG: Thematic elements and brief smokingRuntime: 2 Hrs and 14 MinutesProduction Companies: Columbia Pictures, Regency Enterprises, Pascal Pictures, Di Novi PicturesDistributor: Sony Pictures Releasing Director: Greta GerwigWriter: Greta GerwigCast: Saoirse Ronan, Emma Watson, Florence Pugh, Eliza Scanlen, Laura Dern, Timothée Chalamet, Meryl Streep, Tracy Letts, Bob Odenkirk, Chris Cooper, Louis GarrelRelease Date: December 25, 2019Back in 2017, screenwriter/actress Greta Gerwig made her directorial debut with Lady Bird and took the world by storm. After the critical, financial, and awards success of her first feature, it was announced that her sophomore directorial feature project was a remake of Little Women. The world collectively responded with:
Alas, Greta Gerwig knew what the hell she was doing, including assembling a cast of the hottest names in Hollywood today. She utilized all of the strengths of their talents, took some liberties, and pulled a Psy. And yes, I mean she took the Louisa May Alcott book and said “Oppa Gerwig Style”. I know that might be a dated joke, but just like that song I referenced, this adaptation is timeless. 
It’s Little Women! How can you not know the premise? Okay, who am I kidding? This was my introduction to the source. I never read the book or watched the 1994 film. This was my first Little Women and, thanks to Gerwig’s approach, it became MY Little Women halfway through.
I apologize in advance, but this entire review will just be a Greta Gerwig appreciation piece.
I’ve been gushing over Little Women since the day I saw it in the Sony screening room and it has been extremely difficult for me to translate my sincere love for this film into words. As we all know, Greta Gerwig is a very distinct filmmaker who can tell a gender-specific story and have the emotional core be sentimental in a universal manner. Little Women continues her streak as a storyteller as she challenges herself to tell this classic story in a new ambitious light. The present narrative structure follows two separate timelines as opposed to a chronological order. It takes place in the heyday childhood of the March sisters as they live together under one roof and their adulthood where they all face the challenges of the real world until they have to unite for Beth. Most of you know how the story goes, but Gerwig makes each scene intertwine with the next like a connect-the-dots puzzle. At a Q&A that I attended, Gerwig went on to say that each cut from one point in time in both the past and the present is “linked by emotion,” which is a perfect explanation for why this speared me through the heart, delivering nothing but feels throughout.Her ensemble. Holy crap. Each Little Women remake is kind of like a time capsule representing the hottest names and stars in entertainment who are sure to make an impact in Hollywood. The first film adaptation had Katherine Hepburn. The ‘94 version had Winona Ryder (who was already hot at the time), Kirsten Dunst (who was baby), and Christian Bale (who blew up long after and is still relevant to this day). Similar to something like, say, A Star is Born, the Little Women adaptations are perfect examples of Hollywood names making waves in the industry. 2019’s ensemble is composed of cast members that we grew up with (Laura Dern, Meryl Streep, Emma Watson, Saoirse Ronan), that we watched from the beginning as they blew up and their power continues to grow stronger (Timothée Chalamet, Eliza Scanlen), and that their winning streak just won’t end (Florence Pugh). Say what you will about this iteration, but the cast is absolutely pristine and Gerwig’s direction is even more so. With the March sisters, Gerwig channels all the known recognizable attributes we love about the actors and applies them to their designated roles. Watson — who we recognize as the sweet, understanding, and responsible Hermione — is a perfect Meg March. Timothée — who we’ve seen to be a ranged and talented actor that can be just as much of a heartbreaker as he can be heartbroken — is a perfect Laurie. Saoirse Ronan as Jo… need I say more?
But of course, the woman who manages to steal the show is Florence Pugh as the confident yet superficial Amy. Her delivery of each line, from her childish whines or gossipy mannerisms to the high-class maturity she beholds in her performance, are additions to the wide acting range Pugh has. Pugh has made 2019 her own and to close out the year with one of the best supporting actress performances is just a compliment to her power. Regarding the entire cast, they all exhibit a relative, yet nostalgic childlike wonder without having to don any makeup or effects to make them either youthful or older. As a 20-something-year-old, I connected with this on an astral level, understanding all the perspectives and personalities of each one of these characters whom you all love to no extent. It has an effect similar to Paddington 2 — which many know was my #1 movie of 2018 — where every single character, even down to the antagonist, was just so lovable and you’re swept away by the good-natured tenderness of the characters and their personalities. I fell in love with the March sisters, for the dynamic they share reminded me of my own three younger sisters. From the conflicts that Jo and Amy often have to the love that Jo and Meg share with each other and how everyone drops the entire world to care for Beth… it’s all moving.
Once in a blue moon, a movie will come along and make me smile from beginning to end with great storytelling and imagination. Aforementioned, 2018’s best example was Paddington 2, which reminded me of the wholesome days of great storytelling that harkened back to when I was young and had The Borrowers, which was a timeless live-action adaptation.  But it is rare for me to find a film that elicits the same emotions I felt when I went to see Hugo, which was the major push for me to start Rendy Reviews in the first place. Scorsese’s Hugo was a perfect staple of my youth and Gerwig’s Little Women gave me that distinct sense of nostalgia that Hollywood tries to capitalize on, but only a few know how to deliver. Little Women reminded me of why I love movies as I felt the filmmaker’s passion for the material while giving it their own penmanship. Similar to how Hugo was Scorsese’s love letter to cinema, this is Gerwig’s love letter to Louisa May Alcott, even down to having her own in-joke dismantling of the publishing company that screwed her over. Each scene is made with such love and passion and it’s worn on every frame.No wonder this was released on Christmas Day because it's Greta's gift to the world.Now, if only Greta could do a remake of Cheaper By the Dozen. It just seems like the next logical step. Rating: 5/5 | 98%