Greta Gerwig’s “Little Women” stands as the prime adaptation of Luisa May Alcott’s novel. Under her direction, the story turns into a medium-rare steak—not too overcooked nor an underdone attempt at giving motion to the allure of a timeless story. While several directors and casts have taken on this literary classic, Gerwig’s triumph can be attributed to one thing: her portrayal of women. Yes, it is that hard for a lot of people, even among directors, to visualize women as a real-world persona rather than a dignified, homely doll. So, what sets Greta Gerwig apart and allows her to succeed when all others fall behind?
“Little Women” made its big screen debut in 1917 as a silent film, causing a series of adaptations by different directors through the years. In the 1933 adaptation directed by George Cukor, Katherine Hepburn was cast in the role of Jo March. What was the problem with this version? Jo was a silly comedic character with poorly written dialogue.
Fast forward to 1994, and Gillian Armstrong’s adaptation with Christian Bale and Winona Ryder checks a lot of boxes. The team made the movie much easier to enjoy. But still, it lacked a lot of, well, Jo March. It felt as if each director before Greta Gerwig was trying to tone down Jo’s aura as a character.
Throughout these earlier adaptations, Jo’s resilience, determination, and societal challenges were portrayed, but in a manner that felt somewhat dictated by a male writer. It felt patriarchal, which is evident since most of these directors portrayed a more subdued, less assertive Jo. If she says no, it is uttered softly. It does not need to have too much energy or reluctance. So, when a woman finally took the reins to tell a woman’s story, the difference was night and day.
Greta Gerwig needs no introduction today. Many cinephiles have already experienced her work in films like “Little Women,” “Lady Bird,” and this year’s “Barbie.” Her approach is to portray her characters in flesh and blood, each grounded in reality. Even in her social satire “Barbie”, she manages to make modern beauty standards relatable.
In her adaptation of “Little Women”, Gerwig presents the four sisters as equally different, distinctive, and pragmatic. Without unnecessary exaggeration, she pulls us inside the screen to inspire empathy among the viewers. When we see Gerwig’s Jo March, played by Saoirse Ronan, it’s like being struck by lightning. Jo is playful, unconventional, eccentric, and indomitable. She puts her feet on the table while lounging on the sofa. She rejects love because she doesn’t want to be the mistress of the mansion. Jo is vividly imagined, and her presence is robust, marked by the traits that Gerwig emphasizes in the character.
Jo’s sisters are shown as, not merely fillers but rather distinct personalities. The female struggle is on full display, with each sister carrying an extra layer of internal pain they can’t shake. Loneliness, insignificance, shattered dreams—all humanely portrayed and very well realized. We can see that each woman in the film grapples with personal demons. It’s a portrayal of women that feels more realistic than what Hollywood has offered in the past.
Greta Gerwig’s adaptation of “Little Women” is a beautiful drama that does not shy away from realizing women as women. It is free from the patriarchal view of the female character and lets women be seen as they see themselves. This makes the movie a landmark in modern cinema as well as a rare “women done right” case.