It is a truth universally acknowledged that every generation needs its own film version of “Little Women,” and why not.
As written and directed by Greta Gerwig and starring a transcendent Saoirse Ronan, that seventh and latest big-screen version is here and it’s a pip, with its strong, unmistakable message and even stronger emotions reinforcing each other to splendid effect.
An important element, and also contributing to the film’s light-on-its-feet quality, is the luminous, graceful cinematography of France’s Yorick Le Saux. And Jess Gonchor’s beautifully detailed yet lived-in interiors, especially the March residence, fulfill the production designer’s hope that “we wanted everybody leaving the theater to want to live in that house.”
Jo is living in a boarding house in Manhattan in the late 1860s, tutoring the proprietor’s children and catching the hesitant attention of the scholarly Friedrich Bhaer . Though the 1994 “Little Women” used two different actresses for the self-involved Amy, Pugh has found a convincingly spirited way to play both ages and give this character a fighting chance to gain our sympathy.
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