Ever since I watched Greta Gerwig’s screen adaptation of “Little Women” for the first time in 2019, I have not been able to stop thinking about it, and it has remained central in how I consume films. Upon my first viewing at fifteen years old, I knew I had never seen a film that felt so authentic. I was absolutely entranced by Gerwig’s ability to make the film transcend beyond a retelling of Louisa May Alcott’s beloved book. Gerwig’s directing paired with the artistry and raw talent of the cast elevated this film to an instant classic. It introduced me to the idea of artistic choices in film, helped me realize the importance of women-centered narratives and introduced me to some of my favorite actors.
Greta Gerwig understands how to transmit emotion onto the screen and she breathed a new kind of life into this 150-year-old story. Gerwig infuses her work with authenticity and warmth, reaching the audience in a raw and tangible way. The first thing I noticed when dissecting Greta Gerwig’s screen adaptation of “Little Women” was the artistic use of color grading to distinguish the past from the present. The scenes featuring the girls’ childhoods are golden, evoking the joy and nostalgia of childhood. When the story switches to the present, the color palette is less saturated and features more blues and grays to mark the end of childhood and signify the difficult transition into adulthood. Nothing has ever felt so palpable as someone who experiences nostalgia on a daily basis. I relate to Jo March in the fact that she remembers her childhood as a glowing and warm epoch and struggles with the realities of aging.
Gerwig uses a nonlinear narrative which I found to be incredibly impactful when compared to past movie adaptations that follow the traditional linear story. Moving from the present to the past only makes the jolt of adulthood and the responsibilities that come with it feel that much more inevitable. It introduces the dread of adulthood that otherwise is seen as a far off concept. The cuts between timelines immerse the viewer in the nostalgia of childhood and the understanding not to take it for granted. It’s understood that the golden phase of the March family’s life will end, making it feel that much more important as we watch the March sisters’ story unfold.
“Little Women” helped me realize the importance of women-centered narratives. It took me some time to understand where the importance lay and I realized it’s because “Little Women” focuses on women, which sounds obvious given the title. What I mean is that the film prioritizes and discusses what it’s like to be a woman whereas so many films focus on a male narrative and protagonist.
The Center for the Study of Women in Television and Film at San Diego State University did a study in 2021 where they looked at 3100 characters in the top-grossing films of the year. In that study, they found that 85% of films featured more male than female characters and only 7% of films had more female than male characters. Without realizing it, young women and girls, myself included, internalize this and label the lack of women in film as normal. In the film, Jo says, “Who will be interested in a story of domestic struggles and joys? It doesn’t have any real importance.” To which Amy responds, “Maybe we don’t see those things as important because people don’t write about them.” While watching “Little Women” I felt my eyes open. Films like this can be made and are important. Films that celebrate emotion, what it is to be a woman and the sometimes quiet and overlooked parts of life are just as valuable. Greta Gerwig herself said “…it matters what we write. It matters what we make films about. I can because Louisa May Alcott did.” Adventure and action centered narratives featuring mainly male actors aren’t the only stories that hold importance. Quiet stories about love and domesticity hold worth as well.
“I think Louisa May Alcott, whether she knew it or not, made the ordinary lives of girls and women extraordinary by turning her pen to them.” – Greta Gerwig
On a lighter note, this film introduced me to my favorite actors and actresses. Saoirse Ronan, Florence Pugh and Timothée Chalamet immediately won me over with their performances. Ronan embodies Jo fully in her portrayal. Her performance appealed to a modern audience while staying true to the original character written by Alcott. Ronan’s work as Jo led her to a well deserved Oscar nomination.
Pugh also brought a depth to the character of Amy March that I hadn’t seen in the other film adaptations. Pugh and Gerwig work to fully flesh out Amy as a person and break her out of the box of the bratty younger sister. Pugh’s range is evident in her ability to follow her character from childhood to young adulthood.
Timothée Chalamet’s performance as Laurie is the best I’ve seen. I loved his performance so much that I quickly moved on to his other films and in doing so found some of my all-time favorite movies including “Beautiful Boy,” “Lady Bird” and “Call Me By Your Name.” His work across genres and his charisma on and off screen make him one of the best actors of his generation. Each character in this film adaptation moves beyond the sometimes flat and easily describable description assigned to them. The astounding talent of the cast accomplishes this by recognizing these characters as fully formed people.
Gerwig’s interpretation and retelling of a beloved classic as a personal and emotional film marked the beginning of my deeper interest in film. Her artistic choices, the powerful effect of women-centered narratives and the stunning cast inspired me and have shaped the way I engage with cinema. I embrace the quiet stories, the stories featuring experiences of womanhood. Sometimes the softer, everyday moments of life make for the most impactful stories. Stories about the lives of women deserve to be told and celebrated and “Little Women” accomplishes just that.