We return to Orchard House and Concord via Greta Gerwig’s new LITTLE WOMEN, which takes a much less traditional approach to Louisa May Alcott’s famed novel than Gillian Armstrong’s 1994 version, while still hitting on enough nostalgic touchpoints to feel like a faithful adaptation. In this second half of our March family double feature, we dig into how we processed Gerwig’s approach as an intellectual experience versus an emotional one, and how the film’s bold ending works in the context of the familiar story as well as Gerwig’s career. Then we dive into how Gerwig’s film aligns with and diverges from Armstrong’s version in its depiction of love and marriage, talent and ambition, and charity and virtue. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.

Please share your comments, thoughts, and questions about any and all versions of LITTLE WOMEN, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

Works Cited:

• “Little Women and the Marmee Problem,” by Sarah Blackwood (newyorker.com)

Your Next Picture Show: 

• Genevieve: DICKINSON on Apple TV+

• Scott: James Cameron’s THE ABYSS

• Keith: Wim Wenders’ UNTIL THE END OF THE WORLD

• Tasha: James Ivory’s HOWARDS END and Paul Downs Colaizzo’s BRITTANY RUNS A MARATHON

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