How Florence Pugh Got Us to Care About Amy March

Scene from Little Women (2019)

If one was to talk about Louisa May Alcott's "Little Women" prior to the Greta Gerwig-directed adaptation, there would be one common refrain: Amy March is the worst March sister. This isn't up for debate. The internet is littered with articles claiming that the youngest sister was somehow a character not worthy of sympathy for a variety of reasons including (but not limited to) burning Jo's manuscript and stealing Laurie away from Jo. It's all a bit vindictive when looked at through Alcott's prose, but what Gerwig has done is something that no other adaptation has been able to do. Not only is it grappling with the themes of women being in charge of their own narrative, but it's also in some ways course-correcting the public conversation around the characters by contemporizing them, adding an emotional depth to the relationships that secretly make it bolder than even the equally beloved 1994 adaptation.

As much attention is once again thrown onto Jo, audiences have become enraptured with Amy this time around, and it's easy to see why. There is something to seeing her played with vulnerability the way that Florence Pugh has, giving layers to a role that's easy to write-off as flat and villainous. After all, she is in some ways piggybacking off of Jo's achievements. She is the least sympathetic role because of this. What Pugh does is add depth to the character by making her decisions not come from a place of malice, but sometimes out of a desire to be a great artist and never getting the respect she deserves. After all, Jo wants it too but thinks "it sounds crass when she says it." Already it's finding ways to take that comment and explore how the public has agreed with that statement, even when they really shouldn't.

Review: "Little Women" Defies Expectations with Brilliant Warmth

Scene from Little Women (2019)

The opening of director Greta Gerwig's adaptation of Little Women may sound familiar to those who know a thing or two about Louisa May Alcott. The writer famously had certain conflicts to resolve when publishing the second half of her best-selling novel about The March Sisters. There had to be certain fulfillments that all contemporary publishings had at the time. The most noteworthy was the choice that all female protagonists needed to be either married or dead, and Alcott wasn't having any of that. Still, it was 1868 and the only way to get her work published was to submit to these wills. As a result, later audiences may be confused by what the final chapters hold for spinster archetype Jo March. While the novel was a masterpiece, it was one representative of its time in these respects, showing that while it was about women finding their own agency, they still had to overcome the male-dominated world, where they decided what passed as socially acceptable.

It's why the choice to open the 2019 film as Jo is submitting to the Weekly Volcano (over halfway through the novel) feels like the right way to go. As Alcott's surrogate, it feels like a moment for Gerwig to finally address something that Alcott couldn't. Within her quietness as Mr. Dashwood (Tracy Letts) edits her story to fit his wants, there's a sense that this was how the real-life author dealt with criticism. No matter what she found interesting, there was a man to tear her down. That is the journey of The March Sisters, and every woman in the 19th century in a time where they couldn't own anything and thus needed to find a reason to live. It is why Little Women resonates as more than adaptation. It's one that openly engages with what the text is saying, and even questions it as it relates to Alcott's personal journey to publishing the book. It's metatextual without being cloying, it's empowering without feeling false, and it's incredible in its small achievements. While there may be more direct adaptations, none have addressed why the book continues to be important over 150 years later quite like Gerwig, who to make this film almost feels like the final act of revolt against Mr. Dashwood's critical eye. Everyone watching is laughing at him, even if the conflict still feels prescient in modern culture. 

The Trailer for "Little Women" (2019) Sets Its Sights on Oscar Glory

Scene from Little Women (2019)

In 2017, Greta Gerwig made a significant breakthrough in her career from the world of indie cinema to Oscar darling with the teen comedy Lady Bird. It was a touching story that also became one of A4's highest grossing movies and set the bar for future Saoirse Ronan performances as well as making Gerwig the first female Best Director nominee since 2009's Kathryn Bigelow (The Hurt Locker). It raised a question as to how she would follow-up her critically acclaimed film. Well, it turned out to be the Oscar play that many would clamor for, as she's become the latest person to adapt Louisa May Alcott's "Little Women" to the big screen with some of the best young actresses of the modern era. After much anticipation, the trailer is here, and there's plenty to love about the Christmas season already.

A24 A-to-Z: #4. "The Bling Ring" (2013)

In case you didn't know, A24 is one of the great purveyors of modern cinema. Since 2013, the studio has found a way to innovate independent cinema by turning each release into an event. As a result, A24 A-to-Z will be an ongoing series that looks at every release from the studio by analyzing its production history, release, criticisms, and any awards attention that it might've received. Join me on a quest to explore the modern heroes of cinema by exploring every hit and miss that comes with that magnificent logo. They may not all be great, but they more than make A24 what it is and what it will hopefully continue to be for ears to come.

Review: "The Circle" Finds the Horror in Wanting to Feel Connected

Tom Hanks

The idea of technology disconnecting society is a theme common among modern sci-fi films. It has become more apparent as society has become reliant on phone updates and the belief that any moment of life could go viral. For The Circle, it is baked into the mentality while reflecting the constraints that the proposed convenience has on everyone. The movie asks the tough questions not by exploring how technology is evil, but by how desperation for convenience can undermine humanity. It's an interesting move, and one that turns the conventional thriller into a more interesting parable for the digital era.

Review: "Noah" Mixes Grandiose with the Surreal and Philosophical in Amazing Ways

Russell Crowe

When director Darren Aronofsky's Black Swan became a financial success story, including an Oscar win for Best Actress (Natalie Portman), it seemed rather fascinating on where he would go next. Known for having a catalog of unpredictable, surreal takes on contemporary society, his latest Noah seems like somewhat of a detour. However, knowing that it is his passion project helps to make the $125 million budget make more sense. Whether seen as a biblical epic or a disaster film, this film manages to go straight for the widest possible audience. Luckily, Aronofsky's passion comes through in one of the most bombastic, unique, and best biblical epics in decades. 

Review: Like it or Not, "The Bling Ring" is an Honest Look at Our Sad Future

Left to right: Katie Chang, Israel Broussard, and Claire Julien

As I stated a few weeks back, I believe that The Bling Ring has a lot to live up to. It was voted as my pick for most likely to sweep the Oscars. Of course, that is coming from someone who has campaigned hard for Spring Breakers, but the film had a pretty high pedigree that I felt gave it an odd. Director Sofia Coppola remains one of the few female directors who has held a Best Director nomination. While maybe not intentional to the story, it stars numerous performers who are related to older, more established names. This is a film that stood a chance to be The Social Network of the year. A tedious account of the modern era in an enticing new way. Does the director of Lost in Translation deliver on the chances?