Little Women: Exemplary Modernisation

Greta Gerwig proves herself the ‘big deal’ with Little Women, an adaptation of the 150-year old American literature classic.

From cinema, to television, to Broadway musicals; Louisa May Alcott’s novels have been adapted countless times, owing to the reflection of the golden era in each of them. The latest one on the list of inspiration and adaptations is the story of four girls, filled with dreams, courage and more. With Greta Gerwig being the director, this film was considered as an opportunity to rediscover the audacity and magic of the book, which the previous adaptations may have watered down.

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Set in the times of the American Civil War, this is the story of four sisters; Meg, Amy, Jo and Beth who are discovering self, sacrifice, sorority and resilience. These perfectly flawless girls do not ask others to love them, which makes them rather kind. Meg March, the eldest, the prettiest, and the most materialist one is played by Emma Watson. Amy, the capricious of the four is portrayed by the phenomenal Florence Pugh. Eliza Scanlen is seen as the affectionate Beth, and lastly Jo, the muse of the director is depicted by Saoirse Ronan. The destiny of these young women who want so much more than what the world has to offer them, is depicted well in a cacophony by Gerwig, as an almost choreographic musical.

For this work of hers, Greta Gerwig takes a more personal, even autobiographical approach. She even declared to the producer of the movie that she saw no one other than her to stage it, as she believed in the book and herself with all her might. She finds the book to be a perfect amalgamation of art, femininism and money. Unlike previous adaptations, the director makes the risky choice of a non-linear narrative. It shifts back and forth between adulthood and adolescence. Many people consider it to be an ingenious meditation of what makes the dreams of the youth.

From the January 2020 issue of L’Officiel India.