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Little Women (2019)
Arguably the most ambitious and accomplished of the many, many outside media adaptations of Louisa May Alcott's 1868 coming-of-age novel, Greta Gerwig's 2019 take on Little Women scored rave reviews and high box office returns. Its studio, knowing that period dramas with lots of actorly moments tend to do well at the Oscars, campaigned hard for it during awards season (it got lots of major award nominations, but it won only a few fancy trophies).
Little Women is one of Sylvan's favorite things ever, so they suggested it to Ryan as a podcast subject. Little Women is a massive tome, so every film adaptation emphasizes different elements of the source material in their respective takes; there's lots of conversation about the choices that Gerwig made and how they contrasted against prior versions. Most notably, Gerwig chose a nonchronological structure for the film and inserts dialogue about the limited options most women faced in 19th century America. Ryan, Sylvan, and Cheryl touch upon that, but attention is also paid to Gerwig's more subtle directorial touches, the nuanced performances by all the major actors, and the movie's clever use of color grading as a storytelling device.
Plus, since this is compulsory for any and all discussions of Little Women, there's a brief dialogue about Jo's proper placement in the queer spectrum.
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By Ryan Valentine
5
44 ratings
Arguably the most ambitious and accomplished of the many, many outside media adaptations of Louisa May Alcott's 1868 coming-of-age novel, Greta Gerwig's 2019 take on Little Women scored rave reviews and high box office returns. Its studio, knowing that period dramas with lots of actorly moments tend to do well at the Oscars, campaigned hard for it during awards season (it got lots of major award nominations, but it won only a few fancy trophies).
Little Women is one of Sylvan's favorite things ever, so they suggested it to Ryan as a podcast subject. Little Women is a massive tome, so every film adaptation emphasizes different elements of the source material in their respective takes; there's lots of conversation about the choices that Gerwig made and how they contrasted against prior versions. Most notably, Gerwig chose a nonchronological structure for the film and inserts dialogue about the limited options most women faced in 19th century America. Ryan, Sylvan, and Cheryl touch upon that, but attention is also paid to Gerwig's more subtle directorial touches, the nuanced performances by all the major actors, and the movie's clever use of color grading as a storytelling device.
Plus, since this is compulsory for any and all discussions of Little Women, there's a brief dialogue about Jo's proper placement in the queer spectrum.