Little Women (2019)

For forty years, I have gone to a movie on Christmas day with my family. Some of those choices were terrific ways to spend a family holiday, including “Galaxy Quest”, “Dream Girls”, and “The Greatest Showman”. Other choices were dismal failures that we had hoped would be good but were in fact sad failures; “Toys” and “First Family” being the biggest let downs. Occasionally we made a left field choice, a film we wanted to see but was not exactly holiday fare, “The Girl with the Dragon Tattoo” and “The Hateful Eight” come to mind, not exactly heartwarming.

In 1994, our first year in the new house, I took my seven and five year old daughters to see “Little Women” starring Winnona Ryder and Susan Sarandon. It was a very fond memory and it stood as a pretty definitive version of the film as far as I was concerned. I was not particularly excited about this new version, even when I knew that it would feature Saoise Ronan and be directed by Greta Gerwig. Although I admired their previous collaboration, “Lady Bird”, I was not blown away by it the way so many others were. I saw a few flaws and it probably did not quite resonate with me because of my age and gender. Well none of that effected me with this adaption of the Louisa May Alcott novel, this is a luminous telling of the story that is flawlessly performed, very well written, and may be the most beautiful film you see this year.

I must shamefully acknowledge that I have never read the original novel, in spite of the fact that my wife identified it as her favorite book when she was younger.  As a consequence of this oversight I can’t say for certain how faithful to the book the story is, but it certainly feels authentic. The one minor criticism I have of the screenplay and direction is the non-linear approach to the material. It is structured as a series of scenes, some of which flash back seven years and some which are contemporary to the setting after the Civil War. The ages of the actresses in the main roles are such that they can pass for teens or twenties , but we don’t always know which period we are in. A haircut helps in a couple of places, but a few times it took several moments for me to be able to contextualize what was happening on the screen at that moment.

The strongest addition to the film as told by Gerwig, the screenwriter as well as director, is the detail in the lives of two of the sisters who were often overlooked in earlier versions. Actress Florence Pugh infuses Amy March with more personality than any of the other versions, and the script shows her at both her worst and best. She is loathsome as a vindictive little sister who takes revenge on her sisters creative efforts but she is noble when it comes to choosing a husband and redeeming a character she has herself condemned. Emma Watson as Meg March also makes what is often a cardboard role into an important part of the narrative. Eliza Scanlen is heartbreaking as the sister with the darkest story resolution, but regardless of those characters, it is still a story about Jo. Saoise Ronan is front and center even when she is not on screen. Her frustrating petulance is matched by the frustrating limitations placed on a young woman of the time. You can choose to see this as a feminist screed but that is a mistake, this is a pretty accurate portrayal of a woman’s life in the mid 19th century of the U.S. Ronan manages to be fierce so often that it is a shock when she is so effective as pitiful and desperate in a confessional moment with her on-screen mother played by Laura Dern.

Some attention to the technical production should also be made. The set design is realistic and detailed. The selection of locations feels authentic and the world that the women occupy, even in a place that is hard to replicate like New York in 1865, is convincing. The number of extras in a scene, the mix of roads that are paved and unpaved and the signage on the stores will pass very critical inspection.

There are a variety of supporting players, such as Chris Cooper (my second film of his within a week) and Meryl Streep. Timothée Chalamet as Laurie was presented in the least sympathetic way I have seen in the four screen adaptions I will have on the podcast, but he does have a nicely executed scene of personal despair when he is rejected by Jo as husband material.

Maybe the one other criticism I have of the screenplay is the way the resolution is presented as a hypothetical writer’s plot device rather than an authentic romantic climax. It plays out on the screen nicely, but it does seem to be tampering with the story for modern reasons rather than fidelity to the work. (Again, that may be inaccurate since I have not read the book).

“Little Women comes at the end of the year for the usual reason, it is a prestige picture that is hoping fpr awards attention to enhance it’s potential box office and audience response. This is a strategy that should work. The theater was packed, there was a smattering of applause at the end, but more than that, I think I will be with the majority of critics who see this as one of the best films of 2019.

A Beautiful Day in the Neighborhood

It was just over a year ago that we got a documentary about Mr. Roger’s Neighborhood with the title “Won’t You be My Neighbor“, and it was very satisfying. So that begs the question, why are we getting another film on the subject?  The answer is complex. While this film has the trimmings of a biopic, the subject of the biography is less Fred Rogers than investigative reporter Tom Junod who is called Lloyd Vogel in this film. His fictionalized story is really about the impact of meeting Mister Rogers had on his life. When a movie is “inspired by” real events, there is probably a great deal of difference between the story and reality. I am sure this is the case here, except when it comes to the sincerity of how Fred Rogers moves us.

The film is told in a truly original and interesting style. The writers,  Micah Fitzerman-Blue, Noah Harpster and the director,  Marielle Heller, have chosen to make the film as if it is an extended episode of “Mister Rogers Neighborhood”. The main character is introduced by Mister Rogers on his program as a friend. He then tells the story of Lloyd as one of the direct, simple and profound stories that you could find on the show.  Ultimately it gets embellished with elements of the show including songs, puppets and the neighborhood made of miniature houses and buildings. This is a full blown drama about a man’s life, but it is being told by another man who better understands the issues being faced than the protagonist does.

Tom Hanks embodies Fred Rogers in a pitch perfect rendition of his voice and demeanor. When moments come up that suggest from the magazine writer’s point of view that something is off about Fred Rogers, Tom Hanks calm, grounded and moral persona reclaims the ground and makes us a little embarrassed for even thinking as the writer did for a minute. This is a reflection of the original article that Tom Junod wrote for Esquire “Can You Say…”Hero?“.” We writes in Mister Rogers voice and relates incidents that reveal who Mister Rogers is, in the same soft manner as the subject himself. That this is successfully transferred to a film is a admirable achievement and the work of the director, writers and Tom Hanks is responsible for this.

A number of plot points will seem a little conventional to seasoned movie goers. There is estrangement between father and son. A parallel story concerns the relationship a new father is building with his son. Death inevitably creeps into the narrative as a dramatic tool to pull us in to the world the actors are portraying, but it all works very well. Chris Cooper is an actor I am always glad to see in a movie and he shows up here as a cliche, but finishes as a crescendo. Matthew Rhys plays the writer/son/bio-subject and he is also fine in the film. There are many moments of drama that he has to carry, but there are moments of levity that he manages to make real as well.

I really liked this film. I can’t say that it is one of the best of the year, there is a lot about it that is strange and may be a little too abstract. If you can buy in to the premise, it will take you to some emotional points that are worth experiencing. but without the element of Fred Rogers, they would come across as cliches. I felt better as a human being after seeing it, and I’m not sure anyone needs a better recommendation for seeing it than that.