“I suppose marriage has always been an economic proposition. Even in fiction.”Jo March
Greta Gerwig’s adaptation of Alcott’s classic novel blends a wonderful cast with modern feminist sensibilities. Where Gillian Armstrong’s 1994 version was a direct translation of the novel, Gerwig is more ambitious in her approach. The most obvious change is choosing to tell story out of order, creating a meta narrative in the way scenes are juxtaposed. Introducing the women as young adults also reduces the inclination to infantilise them as children. It works best for those already familiar with the material as the chronology can feel slightly disjointed. Hearing of Laurie’s failed proposal at the start also robs the scene of any power when it finally arrives late in the film, but it also alters the way one views his childhood relationship with the girls. The key casting is Soirse Ronan and Timothée Chalamet (both of whom starred in Gerwig’s Lady Bird). Ronan makes Jo’s proud wilfulness overtly dislikable in some scenes, trusting that we will come to understand her as the film proceeds. Meanwhile, Chalamet’s Laurie is both charming and brusque, with nuanced variation to his relationships with each of the sisters. The ambiguous ending, seemingly introduced by Gerwig as something of a critique, may offend purists, but it is entirely fitting for this adaptation.