Little Women
2019 · Greta Gerwig
Four sisters come of age in America in the aftermath of the Civil War.
dir. Greta Gerwig · 2019
The eighth screen adaptation of Louisa May Alcott's novel, and the first to solve it structurally. Greta Gerwig shatters the chronology, cutting between the March sisters' childhood and their scattered adult lives so that memory and present tense comment on each other — girlhood shot in honeyed warmth by Yorick Le Saux, adulthood in wintry blue-grey, the color temperature doing the work of narration. The device transforms a story about growing up into a story about looking back, and it lets Gerwig smuggle in Alcott herself: the film's ending negotiates openly, and wittily, between what the nineteenth-century market demanded of women's stories and what their authors wanted. Saoirse Ronan's Jo burns with productive frustration; Florence Pugh's Amy, long the adaptation problem child, becomes the film's secret weapon, given an economics-of-marriage speech that reframes the character entirely. With Alexandre Desplat's dancing score and dialogue that overlaps like a household actually talking, it confirmed Gerwig — two films into her solo directing career — as an American filmmaker of the first rank.
Lines of influence
- Little Women (1994) — The direct adaptation predecessor whose hearth-centered ensemble blocking — sisters clustered and overlapping around the fire — Gerwig restages, then breaks apart by cutting it against the future timeline.
- Little Women (1933) — Katharine Hepburn's striding, floor-sprawling tomboy Jo set the boyish physical-performance template — the un-ladylike gait and ink-stained sprawl — that Saoirse Ronan visibly extends.
- Lady Bird (2017) — Gerwig's own prior film establishes her elliptical, montage-like coming-of-age editing and her use of Ronan as a spiky autobiographical surrogate, carried directly into Jo.
- Frances Ha (2012) — Gerwig co-wrote and starred in this template for her screwball overlapping-dialogue rhythm and the restless, apartment-bounding female artist figure she gives Jo.
- Atonement (2007) — Ronan plays a young writer whose fiction rewrites the story's ending; Gerwig lifts this metafictional writer-as-author device for Jo's negotiated, is-it-real marriage finale.
- The Hours (2002) — Braids separate timeframes together through the through-line of a woman author's act of writing, the crosscut-on-authorship structure Gerwig builds her whole film around.
- The Godfather Part II (1974) — The canonical parallel-timeline architecture where warm-amber past and cooler present are color-graded as distinct emotional registers, the exact temperature-as-narration logic Gerwig and Le Saux adopt.
- The Age of Innocence (1993) — Retrospective-narrated period literary adaptation in which material culture and social ritual are shot as a precise index of suppressed feeling, a mode Gerwig's drawing-room economics scenes inherit.
- Days of Heaven (1978) — Néstor Almendros's magic-hour natural light, where color temperature itself carries emotion, is the ancestor of Le Saux's golden, backlit girlhood scenes at Orchard House.
- Sense and Sensibility (1995) — A sisterhood-ensemble period adaptation that foregrounds the economics of marriage as plot engine — Marmee/Aunt March's 'marry rich' pragmatism descends from Emma Thompson's script.
- Barry Lyndon (1975) — Its available-light, painterly period cinematography established candlelit natural-light interiors as a formal organizing principle for the literary costume drama Le Saux works within.
- The Grand Budapest Hotel (2014) — Alexandre Desplat's rhythmic, nested-timeframe chamber scoring method — motifs that signal shifts between temporal frames — is the collaborator technique he brings to Little Women's dual timeline.
- Portrait of a Lady on Fire (2019) — A same-year meditation on women's authorship and the female gaze, structured as retrospective memory framed by an act of looking-back, a sibling in form and theme.
- Marriage Story (2019) — A sibling from the same Baumbach-Gerwig household using overlapping, naturalistically colliding domestic dialogue to stage the fine print of love and money.
- 20th Century Women (2016) — Memory-structured, retrospectively narrated portrait of women authoring their own lives, using a warm nostalgic palette and freeze-frame biography — a sibling in retrospection and warm-toned recollection.
- The Beguiled (2017) — A cloistered female-ensemble period piece shot in soft natural-light interiors, a contemporary sibling in staging women's collective domestic space as the frame's whole world.
Appears in courses