Home Personal Essays In an Era of Remakes, Can Greta Gerwig’s Little Women Give Us...

In an Era of Remakes, Can Greta Gerwig’s Little Women Give Us Something New?

Louisa May Alcott’s classic about the four March sisters coming of age during the American Civil War era has been subjected to seemingly countless adaptations, notably George Cukor’s 1933 film starring Katharine Hepburn, Gillian Armstrong’s 1994 film starring Winona Ryder and Kirsten Dunst, and recently Vanessa Caswill’s 2017 PBS Masterpiece miniseries starring Maya Hawke. Film twitter was abuzz with excitement last summer when the news came out that Greta Gerwig, who was still riding the high of Lady Bird’s success, would be directing a new version of the novel with a star-studded cast including Meryl Streep, Laura Dern, Saoirse Ronan, and Timothée Chalamet. As a diehard Little Women fan myself, I was thrilled. But after the feeling died down, I was left wondering what new things this adaptation could bring to the table.

Emma Watson, Florence Pugh, Saoirse Ronan, and Eliza Scanlen as the March Sisters in Little Women (2019).
by Wilson Webb/© 2019 CTMG, inc. all rights reserved.

Gerwig’s struggle, as is the struggle of anybody trying to tackle an already-done piece beloved in many hearts, is to make it relevant to modern audiences. Cukor’s version had the advantage of being made during the Great Depression when the American Civil War was still in living memory, so the situations and sentiments in the film were not unfamiliar to audiences at the time. Robin Swicord, who wrote the screenplay for the 1994 adaptation consulted with Gerwig on her script, expressed that “you don’t want to repeat the past. And you don’t want to do things just for the sake of being different”. Rumors swirled that Gerwig’s adaptation would be set in the modern day after Chalamet dodged a question about it when asked his thoughts on the script. A present day version would definitely be bold as an explicit application of the book’s messages on feminism, coming of age, and sisterhood to today’s climate, but director Clare Niederpruem tried and failed to do this in 2018. In an interview with IndieWire, Florence Pugh (Amy March) said “what Greta’s done is make a classic that we’ve all seen and we’ve all heard and we’ve all read … and she’s made it relevant to us now and she’s made these four sisters talk in a way that sisters talk”.

Joan Bennett, Spring Byington, Frances Dee, Jean Parker, Katharine Hepburn as the March family in Little Women (1933).

Photos from the set thankfully confirmed that it would be set in the 19th century, and filming took place in and around Concord Massachusetts, where Alcott grew up. Protagonist Jo March was always a mirror for the author, a woman more interested in writing than romance. The novel was almost an autobiography of Alcott, and Gerwig also said “This feels like autobiography” about herself because the book is tied so closely to herself and her growing up. Gerwig’s personal connection has driven her to adapt the story as faithfully as possible.

Gerwig shot on location in the book’s Massachusetts setting, where Alcott and her three sisters grew up. The director researched locations that the family could have inhabited, and in some cases, ones they really did—like the schoolhouse where Alcott’s firebrand father, Bronson, taught. “It gives gravity to what you’re doing,” Ronan says. “The physical place really reminds you of the story you’re trying to tell.” Gerwig also relied on paintings from the era, to give the film a vividness that the black-and-white and sepia portraits of the era couldn’t accomplish. An 1870 painting by Winslow Homer called High Tide created the texture for the beach scene; costume designer Jacqueline Durran modeled Jo’s look after a figure in the work.

Vanity Fair

Cast photo on set of Little Women (2019) posted by Emma Watson on Instagram.

Little Women is an inherently feminist work, made by a woman, about women, and for women. Another female directed adaptation only enhances this status, a type of film we still need more of today. A significant feminist moment in the novel is when Jo rejects Laurie’s marriage proposal in favor of pursuing a writing career. This idea was reflected in the 1994 production, as screenwriter Swicord says she and Amy Pascal were met with an “aggressively against-us attitude” from the all-male execs after several tries to get the film made. Each adaptation had its own context to make it important for the time it was made, and Gerwig’s connection to the story will hopefully give audiences those traditional themes in a new, modern frame that they can apply to their lives.

Saoirse Ronan as Jo and Timothée Chalamet as Laurie in the scene where Jo rejects Laurie’s proposal.
by Wilson Webb/© 2019 CTMG, inc. all rights reserved.

Gerwig has described adapting Little Women as her “passion project”, and I sincerely believe Gerwig’s passion and dedication paired with this stellar cast will translate into a meaningful, relevant, and loveable film. It is set to release in theaters Christmas 2019.

Emmylou Meadowshttp://scratchcinema.co
80s movie enthusiast from NY, currently on a gap year to decide if I want to go to film school! Freelance editor and hobbyist writer. I make short films for fun with my friends, and someday want to work on a feature.

LEAVE A REPLY

Please enter your comment!
Please enter your name here

Latest articles

Wu-Tang Clan: Of Mics and Men; thoughts

The Wu-Tang Clan was instrumental in the evolution of hip-hop music as we know it today. 25 years after their fantastic debut, Enter The Wu-Tang...

A Splash of Waters: Exploring the Theatrical Style of John Waters 50 Years Later

This year marks the 50th anniversary of John Waters’ debut feature, Mondo Trasho, which made his mark as one of the most provocative voices...

Fast & Furious: Hobbs & Shaw

Who would have though that the Fast & Furious will become one of the biggest franchises with over 8 instalments and its own spin-off? Not...

Rape and Revenge Films: Feminism or Fetishization?

While the majority of the genre is left unspoken about-- a guilty secret amongst film lovers— movies such as the popular French-American Revenge (2017), have brought the category into the spotlight, begging the question: are rape-revenge films empowering, or are they marketing off of female suffering?