If you read this site, then you would know that Greta Gerwig’s much-anticipated “Little Women” test-screened earlier in the summer. Most of the reactions I had received were positive, with the qualms about the film mostly due to the slower, more character-developing first hour. At some point, Gerwig ended up going back to the editing room in late August, which then culminated in rumours implying that “Little Women” would skip fall festivals. As these rumours were circulating, a new edit of the film was test-screened, with some accounts pointing out to a tighter and more focused first half.
Another screening of “Little Women” seems to have happened this week. A World of Reel reader attended that screening and had this to say about the movie:
“Had the chance to catch Greta Gerwig’s very feminist take on “Little Women.” It was a blast from beginning to end. I do have to admit I am a big fan of Greta Gerwig’s acting and, of course, “Lady Bird.” Even though this is very different movie territory for Gerwig, the film slowly but surely reveals itself as very much a by-product of the acting and directing style she has given us in the past.”
“You can tell it’s a female director behind the camera, this isn’t at all the “Little Women” we saw in 1994 or in the older adaptation. All throughout, with the simplest of details, Gerwig tries to make sure that her audience knows this is a female point of view. There are these little touches from the dialogue to even the way the actors are positioned in a frame that makes this a uniquely topical adaptation. Yes, the first 45 or so minutes are fairly “conventional” but purposely so. They are needed to build up character motivations and it works once the jubilant climax hits.”
“There are a ton of flashbacks, which I didn’t find distracting in the least bit, but then when the extremely enjoyable and Gerwig-esque second half hits then you kind of understand why she decided to use them.
“Also, I had heard that Chalamet was miscast, but I think that was purposely done. He is, surprisingly, very funny in this movie. An almost meta presence. Also, as much as I loved Saoirse Ronan in this, when does she ever not give a great performance, I couldn’t help but be most impressed by Florence Pugh. Between this and “Midsommar, I really hope she can crash the Supporting Actress race. She has this scene where she just exudes all of the emotions built up in the film into a single monologue and it just knocked me out.”