![]() ![]() Her structure of well-paced flashbacks, laced with emotional peaks and soothing cadences, is first a surprising puzzle and then a source of awe, but never disrespectful to Alcott’s intentions. In doing that, Gerwig taps into a radical proposition-she unearths a reflective sense of memory and nostalgia within the conversation she fosters between the film’s two timelines. ![]() Here (and there will be spoilers ahead), the filmmaker generously pours her signature buoyancy into a novel she clearly knows inside and out, infusing the yarn with the lived-in intimacy of “Lady Bird” and the womanly resilience and camaraderie that defines much of “ Frances Ha.” Moreover, she successfully turns the authority she has over the book into gold, orchestrating the tale’s segments both melodically and in a non-linear fashion. ![]() But it also shouldn’t come as a surprise, should it? In truth, Gerwig has always possessed a distinct auteurial stamp in her artistic expression a disarming uniqueness she shined through in mumblecores and Noah Baumbach collaborations alike, that predates even her semi-autobiographical directorial debut. Considering the text’s countless iterations as TV series, stage productions and feature films-including a pair of silent-era editions, 1933’s magnificent Katherine Hepburn-starrer by George Cukor and Gillian Armstrong’s excellent 1994 version (Gerwig’s film is easily on par with those latter gold-standard two)- that noticeable freshness of this new “Little Women” is no small feat. ![]()
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