'Little Women' is Cinema's Gift to Humanity

Being astonished by the grandness and extravagance of Greta Gerwig's direction of Little Women might be a pompous thing. After all, this is the same woman who wrote and directed Lady Bird and has shown that she's totally capable of turning simple things into gold just by her words and vision. But it is. It's truly surprising that she made this big, capital, marvel of a film, not because she's a woman, but she conceived this after her small but intimate freshman stint. Needless to say, this film is a gift.

Photo: Columbia Pictures

'Jo March' Saoirse Ronan, 'Amy' Florence Pugh, and 'Laurie' Timothée Hal Chalamet are right when they said during their press tour that the film is extraordinarily universal. The nostalgia in this hits too close to home whatever one's gender or age or religion is. It's almost basically what happens to Gerwig's Christine of Lady Bird after moving to New York City. Except Little Women goes way back to 1860s when author Louisa May Alcott's novel of the same name was penned. But there's almost no difference, especially when Gerwig's approach felt nothing short of current, timely, and relatable. It's still a period film but with the vigor of modernity. As a viewer, you could identify with any of the characters, or any of the March sisters, as their actions as young humans affect their lives as adults. It demands you to reflect, and it's mainly because of the timeline jumping back and forth--a Gerwig touch that fleshed out the book's essence even sounder.

Photo: Columbia Pictures

The adjacency of  the past and present is a genius stroke of Greta--from the representation of the golden slumber warmth of the past to the icy dark bluish atmosphere of the present; when Jo returns to their home, alone, for Beth, apposed to her walking with her sisters happy with their slight troubles; when Amy secretly painted Laurie from afar during their day at the beach vs her, painting Laurie by her side away from her sisters and most especially Jo; when Meg struggles to live with their lack of fortune only to be reminded that having her own family has always been what she wanted; and finally, when Jo reflects on her loneliness and somewhat regrets that she passed on the chance to be in a committed relationship with her childhood love--Greta knitted these pair of scenes so perfectly that the emotions are much more resonant, and the impact, stronger. Her way is the best way to tell Little Women. Yes, even after it's told several times in the past.

I guess it has to be said that the time jumps are not at all confusing. There's literally a "Seven Years Ago" inscription in its first flashback. It's not at all hard to keep up. Add the actors' bravura in portraying their characters in different ages. Everyone delivered. Emma Watson as Meg is perfect. Eliza Scanlen as Beth is aptly serene but never fades into the background. Saoirse Ronan and Florence Pugh, whose characters were mostly written to the forefront, are commanding and excellent. The whole ensemble brings warmth and joyful spirit to their characters that it transcends from the screen like a happy pill.

Saoirse Ronan as Jo March, Photo: Columbia Pictures

There's so much more to admire in this film, and by a lot, I mean the score, the script, Meryl, Laurie's obsession with Mr. Bhaer, etc. It's perfect. A true gift. I have a feeling this is going to be rewatched a lot and its effect is going to last for many years to come. Greta created a classic in her Little Women.