Little Women (1994)
★★★ / ★★★★
The March household consisted of a matriarch (Susan Sarandon) and her four daughters: Meg (Trini Alvarado), Beth (Claire Danes), Jo (Winona Ryder), and Amy (Kirsten Dunst, but later played by Samantha Mathis). The patriarch participated in the Civil War as part of the Union Army. We observed the girls bask in their innocence as they starred in their own plays to pass the time and the way they responded to life’s small and big challenges that threatened their bond. Based on the novel by Louisa May Alcott and directed by Gillian Armstrong, “Little Women” captured how it was like to be young and the feeling that we had all the time in the world to play, laugh, and be loved despite our imperfections. The film started off strong because each sister was given the chance to shine. Meg was concerned that she might never get married. She wanted to marry for love, but being around girls her age, most of them from rich backgrounds, made her realize that perhaps marrying for money was a more practical approach so she could provide for her family. Beth was the quiet and innocent one. It seemed like the only time she stood out was when she played the piano during the holidays. Jo, our protagonist, was the firecracker. She wasn’t like other girls. She was unafraid to roll around in mud and yell at boys from a distance. Older folks, like Aunt Match (Mary Wickes), were seriously concerned about her prospects for marriage. Boys just wouldn’t want to be with girls who acted like boys. Amy was the unpredictable one. Being the youngest, she was a keen observer. She didn’t like being poor and she made a personal promise that she would marry a rich man. The film’s first half was intriguing because there was complexity among the sisters’ relationships with each other and the men (Christian Bale, Eric Stoltz) they interacted with. Unfortunately, the second half didn’t feel as strong because there was a certain tone of detachment. Instead of focusing on the sisters’ relationships, the story turned its focus on the uninspiring romance between Jo and Friedrich (Gabriel Byrne), a German professor, while in New York. Since Jo’s story was supposedly based on the author’s life, I expected the screenplay to pay particular attention to Jo’s struggle in trying to become a woman writer in the big city. There were only approximately scenes which showed us that it was difficult for her to get published because nobody was interested in her “fairytale” stories. There was dramatic weight in the way she put her dreams at bay, that is, writing literature, and instead resulted to writing fantasy stories about vampires and beasts because she needed the money. Even though she was published, she felt like a failure because she wasn’t published for the right reasons. I felt as though there were a lot more meaningful things that needed to be said about Jo’s career. The romance felt unnecessary because it offered no excitement or spark. In fact, the romance almost felt like an antithesis to the film’s feminist undertones. Once scenes of reckless abandonment of youth passed by, the film never looked back and there was an off-putting lack of closure.