Behind: Little Women (2019)

In the film adaptation of Louisa May Alcotts’s 19th-century novel of the same name, Greta Gerwig’s Little Women (2019) is a remarkable tale of the 4 March sisters, whom we watch grow and face adulthood as they learn to leave childhood behind. Gerwig uses cinematography, narrative structure and especially colour theory to explore themes of love, loss and nostalgia for simpler times making it a painfully relatable period piece. 

The non-linear narrative and use of colour are beautifully shown through Beth’s recovery in the past and her eventual death in her adulthood. These scenes are placed beside each other to heighten the emotional impact of the loss of a sibling. This also painfully reflects how grief may feel a lot of the time, as one second a loved one is right next to you and the next, they are gone. Of course Gerwig uses the colder colours for Beth’s passing to exhibit the loneliness and quietness when you experience grief which is then juxtaposed by the warm colours of her previous recovery which signifies hope and second chances. The cinematography in these scenes also show this difference as in the past there is a slow pan in to demonstrate a sense of crowdedness and life which is opposed by the slow pan out after her death to make the rest of the characters feel small and alone.

Of course, Saux ensures the contrasting nature of the film remains, as scenes set in the past use a dynamic camera to illuminate the sister’s young, moving lives yet also uses slow motion as if to replicate Jo’s desire to keep hold of these memories due to her fear of growing older. Furthermore, these scenes often include all the March sisters being together further indicating Jo’s fear of losing the bond between her family. In contrast, scenes of their adulthood use single, wide shots where most of the sisters are alone, reflecting the ultimate reality of the loneliness that comes with growing up. For example, when Jo rejects Laurie’s proposal she ends up alone with a large amount of negative space surrounding her, the scene is still and wide almost like a painting, which is used a fair few times throughout the film; illuminating her solitude and heartbreak.

I cannot truly analyse this film without mentioning Jo’s classic foil, her own sister, Amy March. Both characters demonstrate the different paths women in the 1800s could take due to the ultimate decision they had to make. Amy tells Laurie: “she always knew she would marry rich”

Which deeply contrasts Jo who says to Laurie “I don’t think I will ever marry.”  Whilst Amy recognises the financial security that marriage can offer women in a society that restricts their independence, Jo actively works against it which leads to Laurie marrying Amy instead further developing the difference between the sisters. Both characters embrace artistic pursuits to portray the struggles of artistic endeavors; however, they once again end up in different situations. Jo continues to chase her dreams and does end up publishing her book but Amy gives up on pursuing her art in the same way.