LittleWomen review: If every generation deserves its own adaptation, Greta Gerwig has done this one proud with a lively retelling
, it’s that they will read “Little Women” no matter the era. That’s the timeless quality of certain literary classics, and Louisa May Alcott’s Civil War tale of four close-knit sisters continues to delight, feeling every bit as alive today as it must have 150 years ago. In that span, the novel has never gone out of print, and its popularity seems unlikely to fade in the centuries to come.
Over the years, that role has gone to actors ranging from a pre-Batman Christian Bale to future “Rat Packer” Peter Lawford to Jonah Hauer-King , but Chalamet feels the Lauriest of Lauries: Doe-eyed and floppy-haired, alternately indolent and hyper-attentive, and so faithful as to seem almost fraternal, he plays the Marches’ devoted admirer as if channeling a young Daniel Day-Lewis — a connection younger audiences won’t make but older ones are sure to appreciate.
Call me corny, but “Little Women” hooks me every time, in part because Alcott created such lively characters but also on account of the way she approached the institution of marriage. Alcott imagined the March sisters as independent-minded young ladies, despite their lack of wealth, free to pursue their own happiness in a world where women of their station often relied on either their fiancés’ fortunes or a generous inheritance to provide for their futures.
Alcott — who was similarly inspired by her own family, including the death of her younger sister, Lizzie — published “Little Women” in two parts. At the end of the first, none of the March sisters had married, although that wasn’t nearly as bold a declaration of their independence as Jo’s decision in the second volume to decline a proposal from the novel’s most fetching bachelor.
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