Daily Archives: December 24, 2019
By my count, this is approximately the 182nd version of Louisa May Alcott’s Civil War sisterhood. There must be something universal about the trials of the March sisters and their struggles for independence, agency, love, and happy endings on their own turns. Greta Gerwig, fresh off her Oscar nominations for Lady Bird, has given Little Women a decidedly modern spin. The story flashes back and forth between past and present, sometimes in consecutive shots, and feels full of authentic youthful energy. It’s also the first adaptation I’ve watched that has fixed the problem of Amy (Florence Pugh, affecting), widely regarded as the least liked sister. Through Gerwig’s telling, she becomes a self-determined woman, just like Jo (Saoirse Ronan), who recognizes the social trappings holding her back but chooses to do her best within this unfair system rather than rage against it. It’s like an empathetic reclamation for this often reviled character. The enjoyment of Little Women is how vibrant and different each of the March sisters is and how an audience can see degrees of one’s self in each little woman. Jo is by all accounts our lead and her struggle to be a successful writer pushes her against conventions of the era. There is an invented and very amusing bookend where Jo bickers with a blowhard male publisher (Tracy Letts) about “women’s melodrama.” It’s a meta commentary on Alcott’s book herself, especially with the helping of marriages and happy endings by story’s end. Ronan is a force of nature in the film and sweeps up everyone around her with charm. Meryl Streep is supremely amusing as an older rich aunt bemoaning the girls won’t get anywhere without marrying a wealthy man. The limited options for a working-class family are given great consideration, but it’s really a movie that seems to pulsate with the exciting feelings of being young, having the world stretch out before you, and chasing your dream, rain or shine. It’s also gorgeously shot and feels so assured from Gerwig as a solo director. There are a few detractions for this new 2019 Little Women, the biggest being how confusing it can get with its melded chronologies. If this is your first exposure to Alcott’s story, I fear you’ll get lost more than a few times trying to keep everything in order. The love story with lovesick pretty boy Laurie (Timothee Chalamet) feels tacked on even though it’s a feature of the novel. This newly structured, reinvigorated, charming remake of a literary classic feels definitely of the period and of today. It’s the first Little Women adaptation that made me realize how timeless this story really can feel in the right hands. It may be the 182nd version but it might be the best one yet.
Nate’s Grade: B+
I don’t really know what this movie was trying to say. I think co-writer/director Noah Hawley (TV’s Fargo, Legion) was better trying to humanize the story of Lisa Novak, the astronaut who drove 900 miles, while wearing diapers to skip bathroom breaks, to confront the current lover of an ex-boyfriend, all three NASA employees. It was a story so bizarre, so tabloid ready, that a big screen adaptation was inevitable. What I wasn’t expecting was an artist to take this and discard the attention-grabbing details and turn this into a ponderous existential meditation. Lucy (Natalie Portman) has recently returned from Earth and our big blue planet doesn’t feel the same after she’s touched the majesty of space. Her life seems small, meaningless, boring, and she can’t shake her terrestrial depression. She begins an affair with a co-worker (Jon Hamm) to feel that same special sensation again, but she’s chasing something uniquely elusive. Lucy in the Sky is structured like a meandering Terrence Malick movie was crossbred with a heavy-handed addiction melodrama. It’s not a good fit. The ever-changing aspect ratios are meant to convey her emotional state, but just when I thought I had a handle on how to decode them, Hawley would frustratingly break the rules with them. As far as I can tell, the wider ratio (during space) is meant to convey… good things, and the smaller, boxier ratios (Earthbound) are meant to convey… not good things. But then wide shots will be filmed in super widescreen and it throws away that interpretation. It’s an annoying visual tic in a movie that feels over-directed. The blunt characterization for Lucy fails to open her up beyond that of a self-destructive addict. She had a demanding mother (Ellen Burstyn), an existential crisis, and a boring husband (Dan Stevens), so does that explain her behavior? Portman commits to the madness and I give her credit, though her thick Texas accent made me rear back (it sounded like Reba McEntire). The movie is almost worth watching just for her game performance, kind of like last year’s similar artistic misfire, Vox Lux. Lucy is definitely unhinged by the time she’s making her fateful cross-state road trip. She mutters that women are regarded as “too emotional” as a common slight to sideline, but her behavior isn’t exactly dispelling this criticism. Maybe trying to turn “diaper astronaut love triangle” into a symbol for female discrimination wasn’t exactly the best call. Lucy in the Sky is an arty mess that is trying so hard to say something profound but loses the very appeal of its source material. Either you embrace “diaper astronaut love triangle” or you don’t.
Nate’s Grade: C