Let's Talk About "Little Women"

“Little Women”, 2019 version

“Little Wonen” is having a moment. Again. Greta Gerwig’s adaptation is the fourth filmed version of Louisa May Alcott’s 1868 semi-autobiographical novel. They have been:

1933 with Katharine Hepburn as Jo

1949 with June Allyson as Jo

1994 with Winona Ryder as Jo

2019 with Saoirse Ronan as Jo

Jo March, based on Louisa herself, is the heroine and the one most girls claim as their favorite. She's the writer and reluctant proper young lady, always railing how unfair the world is to women. She has spunk and ambition and is fiercely loyal to her family.

We are all probably different combinations of the sisters—practical Meg, unbridled Jo, fanciful Amy, and shy Beth. That might be the secret to the book's staying power. It's never been out of print and can be downloaded for free.

As we are talking fashion here, I recommend seeing this new "Little Women" if for no other reason than to bask in the beauty of the sets, cinematography and costumes. The joy in the latter is that they are so well done they become what they should be—clothing, not costumes. The linen is wrinkled, the cotton unstarched, the collars come undone. If this film doesn't make you pull out your vests and prairie skirts, nothing will.

As "Little Women" progresses we see Meg wearing simple garments befitting her reduced status. She is goaded into buying 20 yards of fancy fabric for a new dress when she really meant to buy her husband a winter coat.

Jo resembles a Victorian "Annie Hall", especially when in the man's world of New York City.

Grown up Amy is seen in Paris tightly corseted in the latest fashion. It's a wonder she can breathe let alone walk. These styles seem designed specifically to keep women "in their place".

And I confess I couldn't stop looking at the delicate tucking and trim on Beth's white nightdress as she lay dying.

This is not meant as a movie review. If put to the task I will quibble with 2019's non-linear approach and casting Timothée Chalamet as Laurie. Every adaptation has its own reasons to watch: 1933 for Katherine Hepburn's exuberance, 1949 for Amy as played perfectly by a young Elizabeth Taylor, 1994 for the best Laurie in Christian Bale, 2019 for the pure pleasure of traveling back in time with the talented Greta Gerwig.