Items | If you want to get emotional this coming Christmas, ‘Little Women’ is the right choice

The motion picture industry, since its inception, has carried with it a significant appreciation for period dramas; such dramas are set in an era immortalized in several legendary novels and brought to the big screen in a variety of ways – in contemporary settings or else imbued with startling recreations of eras that will never return. And, from the start, such productions have always had an acclaimed space with specialist critics and the public (it is no wonder that works such as ‘Reason and Sensibility’ and ‘Pride and Prejudice’ are among the favorites of many people).

And it is on this principle that the acclaimed director Greta Gerwig has decided to embrace her second investment in the cinematographic sphere with the reinterpretation of the classic ‘Little Women’, signed by the transgressive North American novelist Louisa May Alcott. ‘Little Women’, as the feature film was titled, not only brought in some elements already explored by Gerwig in ‘Lady Bird – A Hora de Voar’ (mostly when expressed through a coming-of-age journey ), but also took advantage of that long stage space and the clapping source material to pave a more solid, more sensitive, and definitely more emotional path – managing to elicit tears of frustration and cathartic satisfaction that carries over into the closing credits. .

Moving away from the other adaptations that the book had already won for cinemas and television, the new perspective decides to start at the end of the story: the first sequence introduces us to the group of sisters of the March family, opening about rebel Jo’s (Saoirse Ronan) failed attempt to publish her stories in a publishing house; shortly after, we are transported into the luxurious life of once pampered Amy (Florence Pugh), who travels across Europe alongside austere Aunt March (Meryl Streep) and aims to become a successful artist. while being forced into marriage; Meg (Emma Watson), in turn, finds herself deprived of her dreams while giving herself heart and soul to her family; and finally, Beth (Eliza Scanlen), the youngest, sees her youth slip away as she contracts an incurable disease.

However, this almost tragic litter is isolated in a still unexplained present, whose timeline goes back three years, to a merry Christmas when the whole family was gathered under the same roof and watched over by the protective arms of Marmee March (Laura Dern in a of his better and more outspoken performances). Marmee was married for love to an American soldier (played by Bob Odenkirk) and sparked resentment among the remaining family members, but she’s never been happier – and despite being constantly reminded that she’s poor, she always does as much as she can. so that everyone has everything they need.

From the outset, we realize that the essence of Alcott’s work is transmitted in the most fluid way to the film: the traditionalist sequence chosen by the author is transmuted into a double chronology, subtly marked by artistic differences which range from technical symmetry to soundtrack. choices (commissioned with poignant beauty by Alexandre Desplat). The first, brushed with golden tones, places our heroines at the peak of their daily lives, from end-of-year charity parties to exuberant high-society balls; the second, perfectly juxtaposed, retreats into a melancholic atmosphere that portends a hard and necessary fall before each of the characters finds themselves in their maturation arcs.

Although the narrative is led by women – also based on a feminist aesthetic already known to Gerwig – we have the presence of the charming Laurie (Timothée Chalamet), a wealthy young man who has a personality as irreverent as Jo and automatically becomes his best friend. friend, in addition to being welcomed into the family like an old acquaintance. Laurie is present in the life of each of the protagonists and, despite certain controversial attitudes (for example, when he declares himself to Jo and is rejected), he appears as a considerable force for them to regain their strength even in the most difficult situations. more drastic. situations.

The work has a sufficiently solid structure to ensure the involvement of the public at all times, plunging into an anthological succession which presents the March as immature girls trapped in a social bubble reflected by the construction of the house (isolated in a rural area very different from the exalted urbanism of the big city). As they grow up, they realize they need to change their attitude, maybe stop being spoiled – especially Amy, who explodes in anger when she’s not invited to the theater with Jo and Meg.

If the coherence of the scenario is deliciously well seasoned, the rest of the film touches on impressive perfection: the conduct of the director is fluid at all times, losing a little rhythm at the conclusion of the third act, in addition to being scrutinized by impeccable performance. , mainly Ronan (who returns to center stage after impressive performances in ‘Brooklyn’ and ‘Two Queens’), the punctual presence of Streep in his theatrical metamorphosis and Pugh and Watson as opposite poles of the same branch.

“Little Women” is an uncompromising and humbling surprise that reflects the skills of each of the cast and crew – and leaves us falling in love with a daily adventure filled with thrilling thematic pieces still relevant today.

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