@danybur said:

In this versionovel Little Women, the director Greta Gerwig makes two interventions: a permanent alternation between the two times in which it passes (which first disconcerts) and the inclusion of metafictional elements; but at the same time she respects the conventions of romantic melodrama and that combination of innovation and classicism ends up working.

Little Women addresses certain vicissitudes in the lives of the four March sisters, their parents, friends and suitors from the Civil War. One of them, Jo, writes and sets out to be a freelance writer (Saoirse Ronan); Amy pint (Florence Pugh); Meg plays (Emma Watson) and Beth plays the piano (Eliza Scanlen). At the moment her mother, Margaret (Laura Dern) manages on her own since her father (Bob Odenkirk) is in front of her, which does not prevent her from permanent solidarity tasks. There is a father's wealthy aunt (Meryl Streep) and wealthy neighbors: a grandfather and his grandson Laurie (Timothée Chalamet) who is always orbiting the sisters.

In both the original novel by Louisa May Alcott and in the film, she plans the issue of what degree of economic independence a woman could achieve at that time and what opportunities they had to channel their vocations, marriage being apparently the only possible destination (and not necessarily savior). Something like the universe of Jane Austin but in the US and with the new concerns of the time.

With at least two previous film versions, in this one, the director Greta Gerwig makes two fundamental interventions: one, in the way of narrating, since it permanently alternates the time of adolescence of the sisters with another after the War, with the girls more adult. This coming and going creates confusion at first, as it takes the viewer by surprise. On the other hand, in the first part of the film, the scenes are rather choral, which, added to the permanent temporary break, threatens the growth of the characters and empathy for them. In the second part, on the other hand, and already accustomed to the mechanism and with more focused approaches, this way of telling creates interesting parallels and the story takes hold. (With a very different story, a similar temporal approach works from the beginning in El jilguero, for example)

The other intervention emphasizes the autobiographical character of the novel in the figure of the writer Jo, creating interesting metafictional instances.

Beyond these interventions, the director respects the conventions of romantic melodrama, which is the one that ends up gaining strength with her love affairs and rivalries. In this way this classic but intervened story ends up working.

Young actresses shine in their performances, Laura Dern looks expressive and restrained, the infallible Meryl Streep's aunt is the voice of the establishment, and Chalamet brings an essential romantic charm to her character.

The period construction is exquisite while Alexander Desplat's music is unnecessarily emphatic.

It is interesting to compare this film with Sofia Coppola's The Beguiled, where a boarding school for young ladies run by Nicole Kidman welcomes a soldier during the Civil War itself. Más sobre el texto fuenteSe requiere el texto fuente para obtener información adicional sobre la traducción Enviar comentarios Paneles laterales